dm270

Due 2/8

2012-02-01T15:29:00.004-06:00

Class Calendar - link directly no sign in required
if you use iCal the .ics file is on the class server

Group creative strategy pitch:

WHAT IS A PITCH?

Basically, with a pitch you are trying to "tell" your film.
Pitching is not telling the entire plot of a film. No, no, no, no, no! Don't ever start telling the entire plot! Plot is not important in the pitch. What is the premise of your film? What is the main concept? What is really important is the emotional journey of your main character.

For example:
Your plot could be... boy meets girl, boy loses girl, boy gets girl back again, that's a plot (and a totally valid one) but it's not interesting as the pitch because we have seen a thousand films like this. So... tell us not about the plot but about... what is the most interesting thing about this boy? who is this boy? What is the real conflict? How is it set?

To break it down -- place, time, atmosphere, introduction of the main character and the conflict are the most important things for your pitch not plot.

ESSENTIALS TO THE PROCESS:
Have a well developed idea you believe in. Do you have a compelling premise??
What is driving your story?

Solidify your idea until you can tell anyone what your film is about. Know your concept inside and out.

Know your characters -- link to character worksheets

Character Development Reading.

What are your characters doing?

Outline your idea -- What POV are you telling the story from? This needs to be determined early and should dictate what scenes you include.

Does each scene in your idea have a situation?

Are the situations strung together with a structure -- link to structure worksheets

3-Act Structure is a good place to start. Link to notes on 3-Act Structure.

Structure and Visual Storytelling Reading

Simple structure worksheet.

Does each Scene have a Structure? Setting the Scene Reading.

How's your ending? Link to an interesting article on a great edning.

An interesting article on one pitching style.

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Things you must include:

"Elevator" Line -- one-sentence summary of your proposed project. This sentence should get us excited. Why do we want to listen to the rest of your pitch? Sell it.

Explanation of Theme. -- Themes describe the overarching goals or big picture questions that a movie attempts to answer.

What is the central point you are trying to make with this film?

What is the central goal of the film?

What is the movie about in absract terms?

Short synopsis of your project.
To break it down -- place, time, atmosphere, introduction of the main character and the conflict are the most important things for your pitch.

Structure Breakdown. -- worksheet links above.

Tone and Execution -- What's your approach. What will it look/feel like? Your aesthetic choices should compliment the project's theme. Link out/include examples.

Objective -- What do they want to happen? What is the goal of this project?

Target Audience --- Who is your audience -- you can not answer everyone?

Positioning -- How will you reach your audience?

Creative Strategy Grading Sheet

Local Production Grant -- $5,000

2012-01-28T11:02:00.000-06:00

February 24 - Submissions Due

Call for Proposals

Due 2/1

2012-01-25T16:30:00.000-06:00

A. Create an individual statement of goals.

You will be more successful if you write your goals down and refer to them often.

B. Complete the reading links below -- take notes -- you do not need to complete the worksheets.
Premise
Theme, Story and Genre
Character Development
What are your characters doing?
Situations
Character Worksheet
3-Act Structure
More on Structure
Notes on Structure
Setting the Scene
Structure Worksheet
Point of View
Endings

Recommended Viewings in response to our discussion
Taxi Driver -- Martin Scorsese, 1976
Gummo -- Harmoney Korine, 1997
George Washington -- David Gordon Green, 2000
Secrets and Lies -- Mike Leigh, 1996
The Mirror -- Andrei Tarkovsky, 1975
wind scene from mirror
I am Cuba -- Mikhail Kalatozov, 1964
Au Hasard, Balthazar -- Robert Bresson, 1966
you can watch the majority of these films online @ netflix or @ mubi.com -- mubi has a 14day free trial period -- cancel before the free 14 days is up if you do not want to pay the $7/month fee -- you can also get films for 1 stream $2.99 -- a lot of indie, classic and underground films

C. Meet as a class -- get to know one another -- talk/brainstorm/talk/think/brainstorm --spend a lot of time with one another. give everyone a chance to talk. listen. discuss. debate. respect one another. talk some more. take notes. draw outlines. brainstorm. talk. drink a coffee. brainstorm some more. have a note taker. Discuss a direction -- genre -- characters -- themes. Main tension/conflict. How do you want to affect your audience? Who is your audience? What’s the vision? Where do you want to go? Why do we want to go there? Filter your ideas into a clear presentation that outlines your groups story directions/genre/characters/themes.

D. Create a group goal statement.
Your group will be more successful if you have a common goal.

E. Start development/brainstorming/hunting/gathering on your individual script concept.

F. Write a short review of a movie that has impacted you -- how and why?

G. PAY YOUR EQUIPMENT DEPOSIT! bring your receipt to class!

Extra Credit:
Write a critical review referencing the cinematography and/or screenwriting readings assigned and one of the above recommended films or one of the films below. You must watch the entire film. It is a good idea to watch your chosen film twice. Watch the first time for enjoyment.. but do take notes. Watch the second time for analysis.

This might blow your mind:
The Happiness of the Katakuris -Takashi Miike, 2001
opening sequence - clip 1
uplifting dance #

This movie blew my mind -- It is a movie that I immediately watched back to back. While I often watch movies more than once -- This one made me do it one sitting.
Palindromes -- Todd Solondz, 2004

Extra Credit Answers from 1/25 readings

2012-01-25T16:14:00.000-06:00

Due 1/25

2012-01-18T11:30:00.000-06:00

Write/Prepare

Have confidence in standing by your vision of the world. Artists are not afraid of expressing who they are.

Presenting Yourself and Your Storytelling Goals

From the six prompts below, develop at least two examples for each and make skeletal notes for a 4-minute oral presentation. Rehearse your presentation several times, timing each attempt. Most important is to relate how you mean to act on your audience. If you speak from reminder notes, be sure to periodically look your audience in the eye and address them directly. This should be a lively oral presentation, not a dry reading. You may use visuals but they are not required. If using, have your visuals saved to your named login or on an external drive to present from the front station.

1. Peculiarities of my life that have made me see with special eyes are ...

2. Conflicts formative in my life are ...

3. Themes that I'd like to work with are ...

4. Types of character I empathize with are ...

5. Story topics I'd like to explore are ...

6. Ways I'd like to act on my audience are ...

Watch:

Maya Deren

Meshes in the Afternoon

Wong Kar Wai

In the Mood for Love
2046
Sam Mendes

American Beauty

David Lynch

Mulholland Drive - Llorando Scene

Read/Watch/Consider/Respond -- take notes -- there may be a quiz.

Compositional Aspects of Cinematography

You need to remember that it's not just what the camera sees, but also how it sees it.
Film Form Communicates Story Content.

The foremost consideration in composing for film is that the image should be a meaning-producing instrument. The concept of images producing meaning has long been analyzed in painting, graphic design, and photography, but no single discussion could ever be definitive. This is as it should be, for the potential for any artistic expression is unlimited.

It is not simply what is in the frame that creates meaning; it is also the way the subject is framed, arranged and lit.

Framing:

How can you use framing as visual metaphor?

What do you include and exclude?

Can you use multiple frames? For example the use of other frames within mise-en-scene (windows,doorways, other lines and borders)
Christopher Doyle Masterclass in Cinematography

Here are some classic terms used to describe the distance to the subject in a given shot or the size of the shot:

ELS- extreme long shot- landscape, satellite photo, planet earth

EST - establishing shot - establishes a scene and its location

WS - wide shot - shows the subject's entire body in the frame. Often used as a master shot, which captures an entire scene in one shot and is used as the backbone of a scene, into which all other shots are spliced.

MS- medium shot- shows the subject from waist up. Close enough to capture emotions, but still allows for some range of movement.

Bust Shot- chest to top of head- traditional “live- at the scene” interview framing

CU- close up- collar to top of head- personal and emotional

ECU- extreme close up- mouth to eyebrows -- shows just the face, or even just parts of it. Very good at showing emotion. Amplifies an actor's movements.
OTS - Over-the-Shoulder - a loose close-up, in which the shoulder/head of the other character is in frame. Used for conversations. Remember your Eye-Line Match -- Continuity editing dictates that, if a character is looking in a certain direction in one shot, she/he should be looking in the same direction in the following shot. This is crucial in the over-the-shoulder pattern, where the characters must seem to be looking at one another.

2S - 2 shot- two people’s heads and/or bodies completely in the frame - in most cases a medium shot showing two characters standing/sitting/walking next to each other.

POV - Point-of-View - Shows what a character sees. Used to make the audience see the scene from the character's viewpoint, making them identify with the character to some extent.

INSERTS - Often showing inanimate objects in CU or ECU. Used to convey information, or to disguise a cut when editing.

REVEAL- tilting, panning, tracking, and revealing an important element or person (every horror and western flick, . . . ever.)

In addition to the distance to the subject in a shot, the angle of the camera should also be considered:

Changing the camera angle changes the appearance and function of your shot.

Eye Level - Most commonly used.

Low Angle - Camera is low, looking up at the subject. Makes the subject look dominant. a.k.a. the mythic or heroic shot- see Citizen Kane

High Angle - Camera is high, looking down and the subject. Makes the subject look submissive/inferior. a.k.a. the God Shot- see Hitchcock

Dutch Angle - Camera is slanted from the horizontal. Disorienting skewing of the camera angle- see Rocky

Horizontal camera angles. Moving the camera around the subject horizontally while aiming at the subject creates different camera angles below:

1.Frontal. The frontal angle tends to flatten the three dimensionality of facial features and environments.
2.Three-quarter front. The three-quarter front angle is more often used than the frontal angle or profile because it shows more depth and volumes.
3.Profile
4.Three-quarter rear
5.Rear

Framing Hints:

Rule of thirds -

The dominant compositional principle, the rule of thirds, is a guideline for creating a balanced frame by drawing four lines that divide the frame into thirds horizontally and vertically. Areas and objects of visual interest are then put on these lines to balance the composition.

Divide your frame horizontally and vertically into thirds. To make an interesting and visually pleasing shot, place important objects in the shot on these lines, or where they intersect. For example, eyelines are almost always placed on the upper vertical third line, whereas horizons are often placed on the lower vertical third.

http://vimeo.com/videoschool/lesson/8/framing-and-composition

Video Tutorial on Framing and Composition

Why does it work?

Balance is a key to and a natural component of composition. Both human perception and movement are dependent on a sense of equilibrium.

Headroom and Eyeroom
The predominant content elements in the majority of shots in narrative films are most frequently people. When a person is the focus of compositional interest, where is the viewer's eye drawn? Usually to the eyes. When people are composed on film, the eyes are almost always on the top thirds line. If the eyes are lower, you will probably have problems with headroom - the amount of space above the head. Too much headroom tends to diminish the subject. Individual cinematographers handle headroom differently, but they generally keep the top of the head close to the top of the frame. Headroom is more critical in close shots; close-ups with an inordinate amount of headroom definitely diminish the subject. A little more headroom can be allowed in longer shots, although putting the eyes below the top thirds line can produce disagreeable results. Some cinematographers maintain that you can err on the side of too little headroom -- but... cropping in too tight can make a character look constrained.

Eyeroom, or leading space, refers to the practice of giving characters space in the direction they are looking. A character looking frame-right would be composed around the left thirds line and vice versa. If a character is not given eyeroom, the shot will feel confined, as if sight is somehow limited or the character's face is pressed up against something. You want to give a character some breathing room/space from the edge of the frame. For example if you have a character looking toward the right in a shot you would not want them positioned close to the right edge of the frame or it would seems odd and uncomfortable because it would feel like the character is about to leave the frame. The same applies when a character is moving across the frame.

Watch this video tutorial on Head room, Lead room and Anticipatory framing

In general you do not cover a scene in just one shot. You shoot for the edit. Coverage is incredibly important.

Why do I need coverage?

By having coverage to edit the greatest flexibility is possible in post-production and the importance of this cannot be underestimated.

Essentially masters and coverage involves shooting a scene from several camera angles with each of these differing sets ups covering most, if not all, of the scene. Masters and coverage dominates in drama production because the dramatic emphasis of a scene can be controlled in editing:

The best of an actors performance can be selected and other material dropped.
The feeling and emotion of a scene can be shifted by choices in editing.
If the pace of a scene is too fast or too slow in relation to the whole drama this can be adjusted.
Poor or confusing elements of the drama can be dropped during post-production as a final form of script editing.

Where, when, and how subjects are placed and move in the composition. How they are placed, when they move, where they move from and where they go is dependent on the story—there should be nothing random, since these movements (the blocking of the performers) need to be motivated, otherwise random movements not grounded in the story will appear weak onscreen. The job of the director is to shape or choreograph the blocking, while the cinematographer needs to capture these movements with the camera.
What a character does defines them. Character do actions. What they're thinking is revealed not through dialogue (at least not through good dialogue), but through their body language and how they say what they say. The subtext is the juice of the scene and makes drama interesting.

Blocking is the visual depiction of the story by actors’ bodies—their body language, gestures, and movement through space—and this blocking must be tied to the shot, whether the camera is locked down or moves.

Checklist for staging (blocking)
1. Who owns the scene—the point of view character? This is the character who, perhaps, has most to lose in the scene or the character impacted by the events in the scene. Once you know who owns the scene, then as the director, determine what the emotional state of this character is at the beginning of the scene and at the end of the scene—where does this change occur? You need to know this in order to effectively block the scene (and determine how you’ll emphasize this moment—through shot size/angle changes and/or camera and/or actor movement).

If there is more than one character, think about:
How much space is there between the characters?The way people use space can be divided into four patterns.

Intimate distances: the intimate distance ranges from skin contact to about eighteen inches away. This is the distance of physical involvement--of love, comfort, and tenderness between individuals.

Personal distances: the personal distance ranges roughly from eighteen inches away to about four feet away. These distances tend to be reserved for friends and acquaintances. Personal distances preserve the privacy between individuals, yet these rages don't necessarily suggest exclusion, as intimate distances often do.

Social distances: the social distance rages from four feet to about twelve feet. These distances are usually reserved for impersonal business and casual social gatherings. It's a friendly range in most cases, yet somewhat more formal than the personal distance.

Public distances: The public distance extends from twelve feet to twenty-five feet or more. This range tends to be formal and rather detached.

2. When you set up your camera think about capturing not only the action of this character, but more importantly, the reaction of the character to the events occurring in the scene—especially where the scene change occurs. The character’s actions and reactions will motivate where and what you capture on camera—and will help immensely in editing. The choices for blocking and the use of the camera include these four combinations:
· A performer can stand still and the camera remain locked down.
· A performer can stand still and the camera move.
· A performer can move and the camera locked down.
· A performer can move and the camera can move.
The choice you make should be dependent on the needs of the story—this takes analysis.

3. Before you shoot any project you should make a list of the shots you need to tell the story—and for editing, especially as it relates to the scene’s emotional shift. Think about the actions of the characters and what they’re doing from shot to shot. What shots do you need to tell the full story when you edit? Where do the performers’ eyelines take us—this is one good clue to choosing shots to edit—and a good shooter needs to capture these eyelines. What will the shots look like as you edit? Do you have enough shots?

okay this is cheesy -- but -- it does a good job of explaining coverage -- watch it.

NOT CHEESY -- MOVIES YOU SHOULD WATCH -- ADD TO YOUR NETFLIXS -- CLICK BELOW TO ENLARGE

Key Rules for Shooting Coverage
Eye Line Match
While it is not always the case, at times actors will be moved around during a scene to make more space available for camera set ups, it is just one of the situations where the correct use of eye line matches become crucial. All an eye line match does is makes it clear who is looking at who or what. If shots are framed incorrectly the performer may be actually looking in the right place, but the shot does not actually show this. Wherever a character is looking the framing must show this and also the actor must maintain the direction of their look. In a single set up scene where there is not going to be any intercutting the actors may look around as they wish. When shooting coverage the look has to remain clear.

180 Degree Rule

The line" is a line (in fact a plane that extends vertically above and below, and continues behind the characters) between the subject of a shot (the subject being what the audience's attention is on at the time) and the focus of that subject's attention at the time.

The main thing you must consider, whether planning your shots while storyboarding or while blocking the set, is to consider the 180-degree rule. It’s simple to follow! Once the line is followed, you automatically create a continuous flow of action and a logical sense of direction within your video.

When shooting any kind of conversation, you need to draw an imaginary line through the characters' eyelines. Once you've placed the camera on one side of the line, you're not allowed to cross over to the other side of the line without showing the camera physically move to the other side, or by cutting to a new master shot. The reason for this is that it makes the characters look like they are looking at each other, and are on the correct side of the screen (which corresponds to their physical position on the screen). If you cross the line without cutting away or physically showing the camera move your actors will appear as if they have flip-flopped sides. If you do cross the line remember at minimum to get inserts/cut-ways for your edit.

http://vimeo.com/videoschool/lesson/52/180-degree-rule-explained

Inserts and Cut Aways:
InsertsTwo very useful shots to help give masters and coverage a more dynamic and dramatic edge are inserts and cut aways. Inserts cut in on a detail in the scene and this can be done in three ways. The close up can be framed so it is exactly on the axis of the lens of the wide shot. If the set ups are meant to share the same lens axis this must be precise; the framing of the two set ups stays exactly as if it were on a line from the centre of the lens in the wide shot to the centre of the lens in the close shot. Any minor adjustments in framing will only provide an irritating jump. If the close up is not on the axis of the lens it must be completely distinct. Such a close up can be confusing, because an audience may not be clear what the close up is showing. If, for instance, during an edited scene of two people conversing, the shot cuts to a close up of a pocket, whose pocket is it? When framing off axis the insert needs to be very clearly motivated by action.

For example; in a wide shot the character reaches into their back pocket. Cut to: Hand goes into back pocket and brings out wallet. This kind of insert is a very strong shot, because it so clearly details action, but it must be clearly motivated to have a dramatic, rather than confusing effect.

The third method for motivating a close up is to use an eye line match. Imagine a shot framing a character looking at their watch and the next set up frames their point of view of the watch in close up. This usually works very well, but sometimes performers are too brief in their look and because of this the insert shot which is motivated by the look is difficult to edit. You need to make sure that the look is clear when the set up is taken if the shot is to be useable to create an editing point for an insert.

Cut aways
Cut aways are the opposite of an insert. A cut away shows something that is not part of the main action of the scene. For example; two people are at a race track having a conversation and the shots between them cuts away to the race underway. Using cut aways is another very effective dramatic tool, because cut aways can be aggressive, or sensual, or ironic, and a good director will constantly be thinking of ways to use effective cut aways to help define and delineate a scene.
The power and potential of both inserts and cut aways should be highly appreciated. They can both add considerably to what might otherwise be a rather pedestrian masters and coverage scene.

Success
If continuity is not maintained then shooting coverage becomes a waste of effort, because the set ups will not cut together effectively. Instead of making creative choices in the editing process it will become a struggle to find matching material, which drastically limits the choices available. Even set ups which are interestingly composed and well performed are impossible to use if they lack visual continuity for editing. Having to discard set ups during editing because they won't cut in terms of visual continuity, because the reversals and eye lines don't match is very poor practice.

Watch:
Deer Hunter
Cinematographer Vilmos Zsigmond Talks about Capturing the Deer Hunter
Extra Credit:
Complete Exercise Below:

Depth of field is the area between the closest and farthest points from the camera that are in acceptable focus. When the focus is set at a given distance, there is a range in front of and behind that distance which remains in focus. You must understand how to calculate the depth of field for a given shot, and how to expand and shrink that depth of field, as necessary.

Depth of field is used as a creative tool. In many scenes, there is so much depth of field for the viewer, that it is sometimes difficult to isolate where the audience should be looking. By using depth of field to control the image, you can isolate the character from the background.

3 Factors effecting DOF

1. Aperture Size/ F-Stop

The size of the opening within your lens that allows light to hit the image sensor. The lower the F-Stop number, the bigger the aperture and more light is able to reach the image sensor.

A low F-Stop number (large aperture) results in a shallow depth of field. Fast.

A high F-Stop (smaller aperture) gives a deep DOF.

You want fast glass for low light. The light drop off from stop to stop doubles. For example:

f/1.4 transmits twice as much light as f/2.0, f2.0 twice as much as f/2.8, f/2.8 twice as much as f/4.0, etc.

2. Focal Length

The focal length of a lens is the distance between the optical center of the lens and the image sensor. Determines the angle of view or perspective seen through the lens.

Shorter focal length makes the shot appear deeper. Exaggerates depth and distance.

Longer the focal length makes the shot appear flatter.

Full Sensor Camera such as 5D

Wide Angle Lens 16mm -- Will emphasize the foreground and make it look larger than the background. Makes background objects look farther away. Be careful. Will cause distortion.

Standard Lens 50mm -- Helps to balance the subjects and depth of field. Foreground and background are of relative size. Distortion nor compression are an issue. Things will appear "normal".

Telephoto 200mm -- compresses the background and foreground. Things will flatten out.

Cropped Sensor Camera such as the 60D -- You will be shooting on 60Ds for this course.

All focal lengths must multiplied by 1.6

16mm on a cropped sensor = 25.6

50mm on a cropped sensor = 80

Focal Length Full vs. Cropped Sensor

3. Camera to Subject Distance

Using Depth of Field for Storytelling

http://provideocoalition.com/index.php/freshdv/story/video_tutorial_understanding_depth_of_field/

Helpful Resources:
Online DOF Calculator

Rent Lenses

Supply List

2012-01-18T11:26:00.000-06:00

$100.00 equipment deposit.
http://mca-dm.blogspot.com/2010/08/equipment-policies-and-procedures.html

External Hard drive.
The OWC Mercury Elite Pro*
    •    connection types FW400, FW800, & USB2.0
    •    price range varying with storage sizes and connection types
    •    silent running with superior cooling
    •    3 year repair/replacement warranty
    •    overall: reliable and affordable
http://eshop.macsales.com/shop/firewire/1394/USB/EliteAL/800+USB2/
http://eshop.macsales.com/item/OWC/MEQM7500GB16/

NOT Recommended*:
The Western Digital My Book and other similar drives\ Problems associated with these ‘monolithic’ drives include:
    •    lower quality chipsets with extreme susceptibility to electrical damage
    •    poor customer service
    •    overall: a cheap storage solution, not recommended for video editing or portable storage solutions.

*If you do not have the suggested drive above you do not need to purchase a new drive. We can make the drive you have work as a backup drive. When you have the funds/run out of space/are ready to upgrade research the drives above. You just need some type of external storage device to make sure work is secure. A lower end drive will work but you will be unable to edit directly from it.

Vimeo Plus Account*
http://vimeo.com/plus
$59.95/year

*You can still upload to vimeo without a plus account -- the plus account will enable you access a greater set of features and save you time.

Only one external hard drive, equipment deposit and Vimeo Plus account is necessary per semester regardless of the number of DM courses you may be enrolled in.

Visiting Artist Review Format

2012-01-18T11:02:00.000-06:00

Your response must be under 500 words and a critical reflection on the artist’s presentation. Please do a free write or first draft and then revise at least once for clarity, grammar and spelling.

Your response must include:
1. An introduction to the artist/artist collective, her/his/their background, working methods and media used (technology, video, sculpture, photography, printmaking...etc).

2. What do his/her/their work or projects entail and what is the work about? Describe and interpret the work. What is it about? What are the concepts behind the work? What are the goals of the work? What elements lead you to your interpretation?

3. Pick one or two comments that were made by the artist that are either compelling or repugnant. Discuss your interpretation of what you think the artist meant and explain why you agree/disagree or had a strong reaction.

4. What did you think about the presentation? Was it informative, well presented, or confusing?

Your response must be posted to your blog. The title of the post should include the artist name.

Spring 2012 Syllabus

2012-01-17T01:40:00.001-06:00

Upon successful completion of this course students will demonstrate the ability to:

-organize and present concepts verbally.

-organize and present concepts visually.

-communicate content in their time-based media productions
-work collaboratively

-produce evidence of an understanding of the technical methods of cinema production.

-develop time management strategies to successfully complete the production process.

-effectively publish their time-based media productions for DVD and Web delivery

-create a professional DVD portfolio of their work using DVD Studio Pro

-develop a professional web presence on blogger, vimeo and behance.

-create a demo reel

-write a resume.

-research internship and job opportunities

-research and identify screening opportunities on withoutabox.com

-research to stay current in their field through the use of online tutorial portals

You must receive copyright permission for all non-public domain media used in your film projects. Public domain material can be found at http://www.publicdomain.org/ and http://www.creativecommons.org/. Documentaries (but not fiction) may follow the “Documentary Filmmakers’ Statement of Best Practices.”(located on the class server as a .pdf) Visit American University's Center for Social Media Website for detailed information regarding the difference between rights infringement and fair use.

Assignments and Requirements

In Class Discussion, Critique, and Exercises

You will be expected to do original analyses of your work and that of others – your peers and recognized professionals and to complete in class exercises illustrating the techniques presented. Extra time outside of class will be needed to master the skills and complete the exercises presented in class.

Blog

You will be required to keep a blog for this course that includes thumbnails, storyboards, assignment write-ups and final documentation for each assignment. You should also use these spaces for idea development exercises and reading /screening responses. Rolling Due Dates.

Weekly Assignments - Every assignment is to be accompanied by a separate Assignment Write-up describing your process - the idea, both the conceptual and technical challenges you were dealing with, your approach, your frustrations, what you learned, as well as reference to any of the weekly readings and or screenings. These write-ups should be succinct, no more than 500 words. All edited video assignments must be included on your blog. They must be uploaded by 9am on the due date. Plan ahead if you do not have a vimeo plus account.

Internship Research
Research internship opportunities within the animation or film industry. Internship opportunities to consider: animation studios, feature films/television production, independent short-form films, exhibition, installation, and corporate media. You must identify at least three current internship opportunities that relate to your career goals.
Finding an Internship
MCA Internship Information

Demo Reel
Research on the web to determine an appropriate style and format for a demo reel. Each student will produce a one page outline/concept using clips from past and current assignments, explaining the area of expertise they are highlighting (3D computer animation, 2D traditional, character design, cinematography, editing, etc.) Think of this assignment as the demo reel you would provide with an internship application. Demo Reel Guidelines.
Demo Reel Breakdown Sheet Guidelines.

Portfolio DVD - Your demo reel, resume, and artist statement should be included. It is best to work on your Portfolio DVD and Online portfolio in tandem aka use the aesthetic ques and resources from one for the other to create a cohesive look.

Online portfolio - generate a professional online portfolio and clean up your web presence -- remove unprofessional facebook posts etc. At minimum you must maintain a professional blog and vimeo page.

Festival/Screening ResearchResearch festival and screening opportunities to submit your final project to a larger audience.
Withoutabox.com

Visiting Artist Lectures
You are required to attend 50% of these lectures and post a short review to your blog. If you are in more than one of my classes you may cross post your response -- you only need to write one response and post to each of your class blogs.
Spring 2012 Lecutres
Review Guidelines

Learning Accommodations
In compliance with MCA policy and equal access laws, I am available to discuss appropriate academic accommodations that you may require as a student with a disability. Request for academic accommodations need to be made during the first week of the semester, except for unusual circumstances, so arrangements can be made.

Health and Safety Precautions
As more and more work, education and recreation involves computers, everyone needs to be aware of the hazard of Repetitive Strain Injury to the hands and arms resulting from the use of computer keyboards and mice. This can be a serious and very painful condition that is far easier to prevent than to cure once contracted, and can occur even in young physically fit individuals. Paul Marxhausen – visit his site below

http://eeshop.unl.edu/rsi.html
http://www.mydailyyoga.com/yoga/rsi.html

All students are required to follow the standards detailed in the "EPA Material Handling Protocols

Evaluation and Grading
Grading will be based on:
Creativity, aesthetic and conceptual development
Technical execution
Participation in critique and class discussions
Assignment write-ups
Attendance

Visiting Artists Lecture write-ups

Assignments are due at 9am on their scheduled dates. If you are to miss a scheduled due date, work must be handed in prior to absence. Points will be deducted for failure to participate in critique. Late assignments will not be accepted. Lost files are not an excuse for a late assignment. Loss of data, files, or other associated items needed for any assignment or project will require that you recreate your work, with no exceptions. You are solely responsible for the security of your files. Your files are not 100% secure on the server or computer desktop. You should have multiple copies on multiple sources at all times. No files are safe unless backed up to 3 locations.

Attendance Policy
Punctual, consistent attendance and serious participation in class is required for receiving credit. If there are three absences during the semester, credit will not be granted. If you have two absences, your grade will be lowered by one letter grade. Three late arrivals/early departures = 1 absence.

Readings and Resources
There are no required textbooks for this course. All readings will be made available online or handed out in class.

Materials and Supplies
Required:
1 Spindle (25) DVD-R’s (copymax, compusa, bestbuy, etc.)
1 external hardrive
Optional:
vimeoplus account

Department and Lab Policies
Immediately submit an online tech request to report any problems with a lab computer or printer.

Main MCA computing info site = mcalabs.net  -- go here for answers to frequently asked questions and online tutorials for MCA specific technologies.

Check out policy – refer to dept. blog

No Food or Drinks in Lab. $50.00 fine if you are found in violation.

Keep the Lab Clean. Dispose of all trash -- Paper scraps, old media etc.

Leave your workstation in an orderly fashion. All materials left on the desktop will be deleted. Organize files within the documents folder on your account. Delete your trash from your desktop and trash bin.

Back up work to an external source. Remember files are only safe if they exist in 3 separate locations. MCA servers are not to be considered secure and used only for temporary storage.

Log Out of your workstation prior to your departure. Upon your departure, the chair should be pushed in. Your monitor, keyboard and mouse should be placed in their proper positions.

Due 12/7

2011-11-30T13:03:00.001-06:00

A. Final Project, demo reel, Digital Portfolio on Server, DVD portfolio and Web Portfolio Critique.
B. Internship spreadsheet.
C. Printed Resume
D. Winter break, Spring semester and Summer goals statement.
E. Withoutabox.com research. You should have created an account set-up your project and research festivals appropriate for your project.
F. Web Portfolio Links
G. Submit work to the Fall Screening

DVD Portfolio:
Review DVD Notes Here
Must include a main menu with clear navigation.
You must include your demo reels.
Include your resume and links on the ROM portion of your disc.
You should include work from other courses. You will use this disc for your review committee.
You do not have to label your buttons my MCA course numbers.
This should look and operate as a professional portfolio that you could send to potential employers and internship opportunities etc.

Digital Portfolio:
Create a folder labeled your lastname_dm270_f10. This folder should include a subfolder for each project. Inside of each subfolder you should have the .m2v and .ac3 file for each project and the web ready .mov file (use the vimeo hd setting). You must also include a .rtf file for each project that contains:

Your name

Major

Year in School

Title of the work

Running Time

Short Synopsis
url to the project online.

Web Portfolio:
Review Web Export Settings Here

Online web presence -- you must include 2 of the 5 below -- 4 of 5 will be complete prior to graduation these will be areas you nurture and grow over your time @ MCA:
Vimeo Page
YouTube Page
Behance Network Page
Portfolio Blog
Professional Website

DVD Notes

2011-11-30T12:07:00.000-06:00

DVD Settings for HD content

Compressor:
1. Open Compressor
2. File | New Batch From Template | Select Create DVD | Select Choose Button

3. Select to highlight the DVD MPEG-2
4. In your Inspector Window click the bottom right button Save As
5. Save Setting As: DM270_HD_Picture click Save
6. Select to highlight the DVD Dolby Audio
7. In your Inspector Window click the bottom right button Save As
8. Save Setting As: DM270_HD_Audio click Save

9. In your Settings Window you will now find this Setting in the Custom Folder

10. Quit Compressor | Discard Changes
Your custom settings will be saved to the computer locally if logged in as Student.
If you change computers etc. simply repeat the steps above.

Final Cut:
1. Open your project sequence
2. Mark in and Mark out on the Timeline to include appropriate duration of black and the beginning and end
3. Select your sequence in your Bin
4. File | Send to Compressor
5. Drag your custom settings you saved above to your sequence
6. Assign a Destination by dragging from the Destination Window
7. Click Submit

If you are not coming from FCP -- example a rendered HD file from After Effects, etc.
1. Open Compressor
2. Select Add File in the upper left corner.
3. Navigate to your non-compressed file -- This should be your file using the animation codec. Do not use a .h264 file.
4. Drag your custom setting you saved above to your sequence.
5. Assign a Destination by dragging from the Destination Window.
6. Click Submit.

Before you open DVD Studio Pro:
Create a master folder for your DVD Studio Pro Project
Put your compressed files in the Master folder along with your Menu Assets. Click here for a Photoshop Menu Reviw.
Import all Assets from a master folder only.

DVD Studio Pro:
1. Quit all applications prior to opening DVD Studio Pro
2. Launch DVD Studio Pro
3. Go to Window | Configurations | Extended
4. Save your project in your DVD Studio Pro Master Folder
5. Go to your Disc Outline | Select the menu and delete it
6. Go to Project | Add to Project | Layered Menu
/////Notes in Progress -- More later -- Refer to your class notes until then////

DVD Menus

2011-11-30T12:05:00.000-06:00

Your Buttons in Photoshop Layers

DVD menu buttons have three states: normal, selected, and activated. The “activated” state is displayed when you actually “click” on a selected button. You need a single Photoshop layer for each button’s “selected” and “activated” states, plus one background layer. You can merge the “normal” button states with the background layer. For example, if your project has five buttons, your Photoshop file should have ten layers for buttons states and one background layer that includes the buttons in their “normal” state.

******Any layer effects (such as drop shadows), adjustment layers, and transfer modes should be “flattened” into basic layers. It’s a good idea to label all your layers clearly and to save a copy of your original Photoshop file before you prepare it for DVD Studio Pro.

Your Buttons in DVD Studio Pro
Once your buttons are set up in DVD Studio Pro, use the Menu Editor tools to preview different button states. Buttons in DVD Studio Pro need to be square or rectangular, but you can use any shape for the underlying Photoshop button graphics. Be sure that the rectangular or square buttons you’ll be drawing over the Photoshop graphics in DVD Studio Pro will not overlap. This will make your menu easier to use.

----------------------------------------------------------------------------
Step 1: Create a new Photoshop document and select the “NTSC DV Widescreen” preset.* Use this preset if working with HD footage. You NTSC if you are working in SD. Make sure to match the aspect ratios on the menu and tracks in DVD Studio Pro.

Step 2: Launch DVD Studio Pro and a new project will open by default - click extended view if prompted

Step 3: In the Assets tab, click “Import...” Locate your Photoshop file and click Import in the dialog window.

Step 4: Project Menu |“Add Layered Menu” and a new menu will appear. Delete the menu 1 DVD studio Pro created w/ the new project. Select the menu you just created

Step 5:Once you select the menu, the Menu Editor will display its controls. In the General tab, find the Background drop menu and select your Photoshop file. Check the box for your background layer and uncheck the rest.

Step 6: In the menu tab, create DVD Studio Pro button areas around your Photoshop buttons by clicking and dragging. You can move these areas or resize them using the bounding box.

Step 7: Click on a button area to select it and the Menu Editor will display its controls. In the Layers tab, select the appropriate layers for each button in each state.

Step 8: Control-click the background image of your menu and select Simulate Menu to preview your menu in the Simulator.

Step 9: Once you configure each of your buttons, your menu will be ready to be connected to your other assets.

Due 11/ 16

2011-11-10T16:48:00.001-06:00

A. Final Project Concept Due -- Dealer's Choice aka a project of your choosing-- only restriction = you must be able to complete by 12/7 -- no incomplete projects will be accepted. You may work in groups.
B. Picture/Sound Edit Due.
C. Travel Fellowship Application Materials. Follow the guidelines below. Have your application printed before class.

Due 11/23
A. Turkey Eating.
B. Revise Travel Fellowship Application.
C. Extra Credit = Create a video that deals with food.

Due 11/30
A. Travel Fellowship Application Final.
B. FINAL Edits. With Color Correction and Titles.
C. Visit Behance Network:
http://www.behance.net/
Search Demo Reels/Portfolios
Take note of artists page design and organization
Review at least 3 strong artists pages and reels you would like to emulate. View reels that correspond to your interest. You do not have to research filmaking -- aka if you are an animator you may research animation demo reels etc. If you are a painter, review painting portfolios -- Behance has many creative fields and your primary work should fit withing one.

Read Tech Info:
Techinical Info and Formats
http://www.behance.net/faq/subsection?id=4

Creating and Editing Projects
http://www.behance.net/faq/subsection?id=2

Future::
Promoting your work
http://www.behance.net/faq/question?id=28

D. Visit withoutabox.com -- research festivals to enter and create an account for your project.

Due 12/7
A. Final Project, demo reel, DVD portfolio and Web Portfolio Critique.
B. Internship spreadsheet.
C. Winter break, Spring semester and Summer goals statement.

Travel Fellowship Guidelines

2011-11-10T15:30:00.000-06:00

GET IT ON!
You list goals, research and design projects all the time -- this fellowship application is only a little different as you will get $$$

You are constantly designing projects and pitching them to an audience -- this is just a different audience.

List experiences you have had, courses you have taken, personality traits, etc. that qualify you to carry out this project -- you are qualified! convince your audience. GET IT ON!

You can't win the lottery if you don't buy a ticket.

OUTLINE for writing your fellowship app:
A. Introduction (purpose of travel research or goals, and significance of research)

What one or two characteristics do you want the reader to know about you as he/she begins reading your proposal?

You need to provide a meaningful - personal and/or scholarly - context for your specific project.

B. Project narrative (Objectives, qualifications, methodology, outcomes, and dissemination)

Travel Research Questions/Specific Objectives:
What specific questions do you plan to address during the course of your travel/investigations?
Do you want to find out what accounts for certain behaviors, past or present?
Are you interested in certain physical phenomena and why they occur in a certain way?
What experiences do you want to have?

Qualifications:
You must convince the reviewers that you have the skills, experience, knowledge, and interest to carry out your project. In short, you must "sell" yourself, persuade them that you are a good "investment."

What particular course work is relevant to the proposed project?
Is any of your work experience relevant to the project? co-curricular experiences?
Have you completed an independent research project?
Do you have any relevant experiences living, working and/or studying abroad?

Methodology:
What activities will you undertake that will help you find answers to the questions you have posed?
Will you document?
Will you gather reference footage?
Will you take video/photograph/record audio?
Will you produce a journal? or sktechbook with detailed personal responses to specific settings, events, etc.?
What is the schedule for your project?

Results/Outcome:
What will you have to show for your efforts?
What will you produce?
How will you know your questions have been answered?

Dissemination Plan
Once you have your results/outcomes how are you going to share them with the other humans?

Revise your narrative:
Have you clearly and explicitly stated the connections between your research objectives/questions, methodologies, and outcomes?

Has your project narrative pre-empted and/or answered all of the reviewers' questions. Don't leave them wondering about anything. For example, if you need to visit place X to visit X archive -- it should be clear why -- why is it relevant to your specific project.

C. Budget and budget justification
Budget:
The budget spells out project costs and usually consists of a spreadsheet or table with the budget detailed as line items and a budget narrative (also known as a budget justification) that explains the various expenses.

D. Timeframe
Explain the timeframe for your research project in detail. When will you begin and complete each step? Present a visual version of your timeline. A table summarizing the timeline for the project will help reviewers understand and evaluate the planning and feasibility.

Things to remember in terms of your Audience:

Your proposal will be your first and perhaps only contact with the individuals who will be making a decision about your application. Ask yourself the following questions in preparing the final draft:

Will an educated lay person be able to understand my project? Don't assume that someone would know what you know -- unpack it for them. For example -- would everyone know that this or that city is known for this or that etc. Would a sculptor understand your specific cinema or animation methods?

Will the reader know that you truly care about this project? Have you answered the "so what" question?

Do you lead your reader through the document in a manner that will make it easy for him or her to follow? Have you eliminated truly extraneous material? In many cases, readers will be asked to consider 50 or 60 proposals in a short amount of time. How would your proposal stand up to that test if it were number 60?

Is your proposal free of all typographical, spelling, and grammatical errors? (Have your proposal proofread by at least two people who know nothing about the subject.)

Revise -- Revise-- Revise--

1. Did you give them what they want? Did you follow the application guidelines exactly? Where you explicit and specific?

2. Where you realistic in designing the project?

3. Did you make explicit the connections between your research questions and objectives, your objectives and methods, your methods and results, and your results and dissemination plan?

4. Back to step 1 -- Did you follow the application guidelines exactly!

Color Correction

2011-11-09T13:03:00.001-06:00

Audio Links

2011-11-09T10:40:00.000-06:00

Stuff to mix
http://creativecommons.org/
http://freesound.iua.upf.edu/
http://ccmixter.org/freesound/view/media/home
http://www.frontalot.com/index.php/content.php?page=osb
Fair Use?
http://www.centerforsocialmedia.org/videos/remix_culture/
http://www.centerforsocialmedia.org/resources/fair_use/
DJ Spooky
http://djspooky.com/
Lawrence Lessig
http://www.lessig.org/
https://netfiles.uiuc.edu/jlsolber/www/lessig/
Jeff Chang
http://cantstopwontstop.com/
Kodwo Eshun
http://www.jahsonic.com/Technology.html

Audio Sync

2011-11-08T13:52:00.000-06:00

Due 11/9

2011-11-02T19:17:00.001-05:00

A. Block, Light, Rehearse (adjust), SHOOT SHOOT SHOOT
B. Transcode footage using mpeg streamclip.
C. Label your video clips and audio clips. You should have a folder of Audio clips that are clearly labeled to correspond to your video files.
D. Save your files to 3 locations.
E. Start your Edit. Be prepared for edit review and in class editing session.
F. Filter/Focus your internship and travel fellowship research. The travel fellowship application is due 12/1.

Due 11/ 16
A. Final Project Concept Due -- Dealer's Choice aka a project of your choosing-- only restriction = you must be able to complete by 12/7 -- no incomplete projects will be accepted. You may work in groups.
B. Picture/Sound Edit Due.
C. Travel Fellowship Application Materials.

Due 11/23
A. Turkey Eating.
B. Revise Travel Fellowship Application.
C. Extra Credit = Create a video that deals with food.

Due 11/30
A. Travel Fellowship Application
B. FINAL Edits. With Color Correction and Titles.
C. Visit Behance Network:
http://www.behance.net/
Search Demo Reels/Portfolios
Take note of artists page design and organization
Review at least 3 strong artists pages and reels you would like to emulate. View reels that correspond to your interest. You do not have to research filmaking -- aka if you are an animator you may research animation demo reels etc. If you are a painter, review painting portfolios -- Behance has many creative fields and your primary work should fit withing one.

Read Tech Info:
Techinical Info and Formats
http://www.behance.net/faq/subsection?id=4

Creating and Editing Projects
http://www.behance.net/faq/subsection?id=2

Future::
Promoting your work
http://www.behance.net/faq/question?id=28

D. Visit withoutabox.com -- research festivals to enter and create an account for your project.

Due 12/7
A. Final Project, DVD portfolio and Web Portfolio Critique.
B. Internship spreadsheet.
C. Winter break, Spring semester and Summer goals statement.

Due 11/2

2011-10-26T17:51:00.000-05:00

A. Review the Audio notes below.

B. Continue/Revise your scripts, storyboards and your production packages -- spreadsheets, props, locations, etc. etc. etc. Rehearse talent!

C. Read the following links:

3-point lighting basics
3-point simulator
Key Light – 2 pages
Fill Light – 2 pages
Back Light – 2 pages
Background Light – 2 pages
Bounce Cards – 2 pages
Outdoor Lighting – 3 pages

D. Continue Travel Grant research. Free money = Awesome... plus it looks good on your resume!

E. Brainstorm as a group -- End of semester screening -- Theme? Time? Date? Place? Just our class or open up to all that want to show? Can you make connections with established clubs (animation/cine?etc.)

Audio Notes

2011-10-26T17:39:00.000-05:00

MAKE SURE YOUR AUDIO LEVELS FALL BETWEEN -12 AND -6dB

Use the + - record button to adjust the levels so the average falls between 12 to 6 dB

Do not confuse the + - headphone volume with the + - record setting.

Garbage in = Garbage out! You can not adjust levels that are extremely low or extremely high!

Watch for extreme highs -- you do not want to hit 0 -- your sound will CLIP.

Sound recorder must make the set aware if the sound is not ideal. RE-Take the shot. Speak up if the sound quality is not optimal!

Make sure your settings are at 48khz/24bit.

Do not forget to record at least 30sec of Presence.

Be aware of the angle and placement of the mic.

Double/Triple check that the mic is not in the shot. Do not forget to watch for mic shadows!

Your slate/clapper must be detailed to aide in the sync of audio in post.

Presence
The reality of the sound
Must appear to be coming from the picture (sound in a gym v. sound in a living room)
Live v. Dead (gym very live (bouncy)) living room dead (think of materials in a living room)
Echo
Reverberation
Sound that does not bounce is referred to as direct sound – often try to deaden a room

Perspective
Is related to distance
Voice of person in distance should be different than one shown in close-up
Boom further away for a long shot than for a tight shot – easier with boom – more difficult with lavs
Mics hidden in scenery – any potential problems? What if camera follows the person?
Sometimes difficult to do – done later in ADR – record scratch track anyway

Balance
The relative volume of sounds.
Important sounds should be louder than unimportant sounds
Human ear can listen selectively, but mic cannot
Cardioids mics can act a little more like the selective ear than can an omni directional
Generally record everything flat and adjust relative volumes in post

Continuity
Refers to the sameness from shot to shot
Script supervisor generally keeps track of visual elements should also keep track of the aural elements
If water is dripping in during close-ups of a man should also hear if cu’s of a woman who is in the same shot
Should note how far the mic is from the person being recorded
The angle should also be noted
Use the same mic for the same person throughout the production

Due 10/26

2011-10-19T14:51:00.000-05:00

Complete Pre-production Package.

Must be inside a folder/binder.

1. Revise your script.

2. Breakdown the Script -- Determine the following

a. The number and types of actors required - List in spreadsheet.

b. How many scenes each actor will be in and the total length of their performances. List in spreadsheet.

c. The requirements, number, and types of locations. List in spreadsheet.

d. The number and types of stunts and special effects. List in spreadsheet.

e. What special costumes and makeup will be required? List in spreadsheet.

f. What props are required? List in spreadsheet.

2. Rehearsal with actors -- take pictures/post to your blog

Before you rehearse:

Create a full story and character dossier for each actor -- These should include your direction notes. You should be able to explain the objectives of the characters to each actor. The actors need to have a shared understanding of the your vision.

Summary of prep - replace adjectives with verbs,images, facts, events, and physical life. Know what the movie is about, who the characters are, and be able toback up your ideas with evidence.

Think of your film as a story you are telling to oneperson. By keeping your storypersonal and specific you will paradoxically stand the best chance of telling astory with universal appeal.

For each scene ask yourself: what is this scene about, why is it in the screenplay and what do I need to achieve to maximize the emotional impact of the scene.

What are the objectives of each character, the obstacles, actions, means, etc?

What do I need to be sure the actors do to clarify and maximize the impact of each scene?

What is the best, most effective and appropriate way to visually present the scene?

Your goals during the rehearsals are:

Translate your vision for the telling of this story including the style, rhythm and pacing.

Develop the relationship between you and the actors, between the actors and their characters, and between each of the actors for each other.

Fix any problem scenes by working with the actors or perhaps even rewriting the scene.

Make sure the most important scenes, the turning points of the story, work extremely well.

3.Complete Location Scout – during scout note sound quality, available light, and power. Take photos of location. Draw an overhead map of the natural and electrical power sources. Note date and times you have access.

4. Block each scene by creating a series of thumbnails for each scene. Master Shots – Note all coverage for each Master -- Include inserts, cut aways, etc.

5.Determine the number of days you will shoot

6. Create a spreadsheet schedule – this should include:

date – time – location – set-dressing - scene - actors – props - costumes - make-up

7. Create a contact sheet for all actors/crew/locations

8. Create maps for actors if not picking them up.

Due 10/19

2011-10-12T15:36:00.000-05:00

A. Revise/Reformat/Print scripts for reading
Celtx
http://celtx.com/index.html

B. Revise edits/ post to your blog

C. Pre-production -- Location/Talent Scouting
Post images and overhead maps to your blog.

Due 10/12

2011-10-05T14:39:00.000-05:00

A. Scripts Due*

Create a copy for each character. Highlight each character's lines on their individual copy.

Round table read your script and revise prior to class. Things will sound differently aloud vs. in your head. Do not wait to "hear" your script prior to class.

http://www.fathom.com/course/21701762/session5.html

http://www.scriptfrenzy.org/howtoformatascreenplay

*if your project does not have scripted dialogue -- ex. a documentary, experimental, poetic, etc.

You must create a clear shot list. Outline exactly what we will see on the screen. For documentary include both A and B roll. Although you project may be experimental it should still follow some type of "structure". This should be clear from your outline and shot list.

B. Prof Practices research:

Internship/Resume

1. Read the internship info from the main dm blog.

2. Research national internship opportunities and identify at least 3 your are interested in applying for. Your research should include the companies themselves. For the 10/12 review you must write a brief statement (3-5 sentences) explainingwhy you have chosen to apply to each internship. Your research will help you make aninformed internship choice and help you to craft a convincing statement you can use in your cover letter and conversationally during an interview. You should be able to answer the question:

Why do you want to work here that does not include "I like insert name of show or movie."

3. Write a review of your meeting with Gadsby in Career Services.

C.Travel Fellowships

1. Read the travel fellowship guidelines pdf on the class server. If you are unsure what "Europe" is... look it up. Old vs. New?

2. PLAY -- Begin brainstorming what you want to research/accomplish. This is an exciting opportunity! Have fun -- Think Big -- Don't censor yourself.
Take yourself/your art/your dreams/desires/preoccupations seriously!

3. Narrow/Move out of play mode.Think about your professional goals in relationship to our internship research. Do you see connections you could make with your goals artistically and professionally with the opportunity to travel abroad? How could this experience help you further your goals artistically and/or professionally? List experiences you have had, courses you have taken, personality traits, etc. that qualify you to carry out a fellowship of this type.

Due 10/5

2011-09-28T18:44:00.002-05:00

Continue development of your project concepts.

Post revisions to your blog.

Tech "Workout". Exercise. Practice. Get Physical! Place a folder on the server with your shot footage. You do not need to edit. You may edit though. Focus on becoming more comfortable with your gear and developing a protocol for shooting. FOCUS FOCUS FOCUS. Below are some suggested exercises:

Professional Development -- The projects below are due 10/12. However, you must begin now to thoughtfully consider and research your options.

Internship/Resume

Read the internship info from the main dm blog.

Research national internship opportunities and identify at least 3 your are interested in applying for. Your research should include the companies themselves. For the 10/12 review you must write a brief statement (3-5 sentences) explainingwhy you have chosen to apply to each internship. Your research will help you make aninformed internship choice and help you to craft a convincing statement you can use in your cover letter and conversationally during an interview. You should be able to answer the question:

Why do you want to work here that does not include "I like insert name of show or movie."

Make an appointment to see Gadsby in Career Services. You will have a write-up of your visit due 10/12. Do not postpone arranging an appointment. Prepare questions to discuss in regards to resume preparation and local/national internship opportunities. If you have one, bring your resume to your appointment for review.

Travel Fellowships

Read the travel fellowship guidelines pdf on the class server. Begin brainstorming in regards to application. An outline of brainstorming/research/goals for the traveling fellowships will be due 10/12.

Self-Critique

2011-09-28T10:06:00.000-05:00

This self-critique is an important part of your project (and grade) and reflects the learning process you went through. Your self-critique should be posted to your blog along with documentation of each project that is due prior to class critique. It should include:

Brief, clear synopsis of the story- what we actually see onscreen.

Intent- how you wanted to affect us.

Source of the main idea that you started with and its importance to you.

Theme or premise of the piece as you discovered it after finishing the film.

Main tension/conflict: be specific, look for this element in all genres of film. Strengths of the film.

Problem areas and “what I want to learn to do better.”

Journal-type notes on your own learning process, discoveries, and frustrations.

class critique

2011-09-28T10:01:00.001-05:00

A) Impact
1. On a scale of 1-10, what was the story's overall impact?
2. What did the story leave me thinking?
3. What did it leave me feeling?

B) Clarity
1. How clear was the story? Could I see all the scenes equally clearly in my mind's eye, or were some hazy?
2. What parts could I easily and pleasurably retell, and what parts are difficult to recall?

C) Potential
1. Does the story feel complete?
2. On a scale of 1-10, rate each scene. Are they all functioning to full potential?
3. Which elements were strong, which were weak?

D) Feedback
1. Report what is working well, and what is not.
2. Suggest what might clarify and strengthen whatever is weak.

HD encode settings for the web

2011-09-28T09:31:00.002-05:00

Create a Custom HD encode Setting:
1. Open Compressor
2. Go to Window | Settings
3. In the upper right corner of the Settings Window click the + pull down menu and select QuickTime Movie

4. Under the Custom Folder in your Settings Window double click the Untitled QuickTime setting

5. Your Inspector Window will open.

Once your Inspector Window is open name your setting something that will help you recall just which setting it is for, for example Vimeo HD Encode" is as good.

Once named, in the Encoder tab, 2nd tab from the left, we will change our video settings. Click on the settings button. This will bring up our window where changes can be made. We will first change our Compression Type to H.264. Under Data Rate we will change from Automatic to 'Restrict to and type in 5000 kbits. We then adjust our Key frames to every '30' frames and keep our Compressor quality setting set to High and encode using Best Quality (multi-pass). Click on OK.
Next we go to the Audio settings and change Audio Format to AAC, and the
Sample Rate to 44.1. We will keep the Target Bit Rate at 128 and click OK.

Next, while still in the Inspector, we go to the Frames Control tab (3rd tab from the left). To activate 'Frame Controls', we must first click on the little gear icon which is found to the right of the Frames Control drop down menu. Should you forget to do this, the Frames Control menu will be grayed out. Set the Frame Controls drop down menu to 'On', change our Output Fields to 'Progressive' and then go to the Deinterlace control and change it to 'Better' (Motion Adaptive). Change the Frame Control's drop down menu to 'On'.

We are almost done but still have a bit more to do. Your video was shot at 1080i. You want to reduce your file size yet maintain high quality, you need to reduce the width of the the video frame from 1080 to 720. Click on the Geometry tab (2nd from the right) and type in the new frame size, 1280x720. Reducing the frame dimensions retains the highest resolution of your HD media while reducing the file size so that it will be small enough to run from Vimeo. We will leave the Pixel Aspect at its default for size setting.

Click on 'Save' which will now store your Vimeo HD Encode setting within your Customs folder for current as well as future use.

From Final Cut Pro:
Mark in and Out on your sequence.
Select your sequence in your bin.
Go to File | Send To | Compressor
Your sequence will open up in Compressor.

From After Effects or ToonBoom:
In Compressor Click the Add File Button in the Upper Left Corner. Navigate to your Master File.

Drag the Vimeo HD Encode setting from your Custom Folder in your Settings Window to your sequence/file in the main Compressor Window.

Drop a Destination on top of the word source -- for example user's movies folder.

Finally Click Submit in the Bottom Right Corner.
To Monitor click the Batch Monitor Window in the Upper Right Corner.

Due 9/28

2011-09-21T16:03:00.001-05:00

A. Assembly edit of your projects completed to this point in the semester.

B. Present your concept --

Things you must include:

"Elevator" Line -- one-sentence summary of your proposed project. This sentence should get us excited. Why do we want to listen to the rest of your pitch? Sell it.

Explanation of Theme. -- Themes describe the overarching goals or big picture questions that a movie attempts to answer.

What is the central point you are trying to make with this film?

What is the central goal of the film?

What is the movie about in absract terms?

Short synopsis of your project.

Structure Breakdown. -- worksheet links above.

Tone and Execution -- What's your approach. What will it look/feel like? Your aesthetic choices should compliment the project's theme. Link out/include examples.

ESSENTIALS TO THE PROCESS:
Have a well developed idea you believe in. Do you have a compelling premise??
What is driving your story?

Creative Strategy Grading Sheet

2011-09-21T09:42:00.001-05:00

3 Act Structure Explained

2011-09-07T15:18:00.001-05:00

Act I comprises the first quarter of the screenplay. (For a two hour movie, Act I would last approximately 30 minutes.)
What happens in Act I (Setup)?

Exposition--The part of a story that introduces the characters, shows some of their interrelationships, and places them within a time and place.
This part of the story introduces the main character, the dramatic premise, and the dramatic situation.
Main character--the person in the story who has a need/objective to fulfill and whose actions drive the story
Dramatic premise--what the story's about
Dramatic situation--the circumstances surrounding the action
Inciting Incident--an event that sets the plot of the film in motion. It occurs approximately halfway through the first act.
The "Plot Point"--According to Field, the three acts are separated by two plot points. A plot point, often called a reversal, is an event that thrusts the plot in a new direction, leading into a new act of the screenplay. Later screenplay gurus have built on Field's theory by stating that Plot Point #1, which leads into Act II, is the moment when the hero takes on the problem.

Act II comprises the next two quarters of the film. (For a two hour movie, Act II would last approximately 60 minutes.)
What happens in Act II (Confrontation)?

Obstacles--In the second act, the main character encounters obstacle after obstacle that prevent him from achieving his dramatic need.
First Culmination--a point just before the halfway point of the film where the main character seems close to achieving his or her goal/objective. Then, everything falls apart, leading to the midpoint.
Midpoint--a point approximately halfway through the film where the main character reaches his/her lowest point and seems farthest from fulfilling the dramatic need or objective.

Act III comprises the final quarter of the film. (For a two hour movie, Act III would be the final 30 minutes.)
What happens in Act III (Resolution)?

Climax (Second Culmination)--The point at which the plot reaches its maximum tension and the forces in opposition confront each other at a peak of physical or emotional action.
Denouement--The brief period of calm at the end of a film where a state of equilibrium returns.

Who Likes Star Wars

2011-09-07T14:12:00.001-05:00

When you tap into the universal storytelling of myth, you can begin to find deeper resonances to a story that may have large audience appeal. If this kind of work is interesting to you, read Joseph Cambell's The Hero with a Thousand Voices (the work that influences George Lucas' Star Wars.)

From Rabiger's Developing Story Ideas:

Choice of Myth, Legend, or Folktale
Find a myth, legend, or folktale that you can adapt to a recognizably modern setting and that appeals to you at a visceral level. By giving rein to your instincts and fascinations, most especially those you cannot explain, you engage deeper and more significant preoccupations. If your own ethnic background is mixed, you my find it rather satisfying to research a legend, folktale, or myth from among the least familiar aspects of your own background. For me [Rabiger] this would mean foraging among Celtic and Hispanic tales before resorting to the familiar ones form my English upbringing.

Folklore and Mythology -- Electronic Texts
Project Gutenberg
Baldwin Online Children's Project
Classic Tales and Fables
Myths and Legends
Fairytales

Post your assignment online and include:

1. An active hyperlink to the original tale, if available.

2. An analysis of the tale.

a. Note the strengths and weaknesses the story assigns each character and decide why the tale characterizes them in this way.

b. Mark in divisions between scenes, and number the scenes.

c. Mark where you would divide the tale into its three acts and justify your divisions.

d. Graph out a rough dramatic arc for the story.

e. Write a brief interpretation of the story. What is it meant to tell us about human life and human behavior? With many stories this is ambiguous and the interpretation can vary depending on the emphases discovered by the reader. This, of course, is what makes literature fertile.
f. Write a brief outline of how you would like to adapt your chosen work using the restrictions below.

Portion 1 and 2 are due 9/14
Portion 3 is due 9/21

3. Your new updated version written in scene outline form. Include
a. A modern setting whose conventions are credible for a present-day story (meaning, no magic potions, vanishing genies, or haunted shopping carts)
b. Believable characters, credibly motivated.
c. A plot that doesn’t strain credulity. Be sure to include a setup, complications with rising action to a crisis point/climax and a resolution.

Focusing

2011-09-05T23:36:00.002-05:00

Traditional video camera practice of zooming the lens in | setting focus | and zooming back out does NOT work with canon lenses. The lens is not designed to hold focus. Repeat the focus will not be maintained.

Instead you must use the DIGITAL zoom in.
The digital zoom is 5X and 10X.
You will go through the traditional practice with the DIGITAL ZOOM located in the upper right of the back of the camera body.

Exposure

2011-09-05T23:32:00.001-05:00

Use a wide aperture to isolate the subject.

Press 1/2 way on the shutter to check the meter.
Never trust your eye.
Always check your Histogram.

Depth of Field

2011-09-05T23:30:00.000-05:00

3 Factors effecting DOF

1. Aperture Size/ F-Stop

The size of the opening within your lens that allows light to hit the image sensor. The lower the F-Stop number, the bigger the aperture and more light is able to reach the image sensor.

A low F-Stop number (large aperture) results in a shallow depth of field. Fast.

A high F-Stop (smaller aperture) gives a deep DOF.

You want fast glass for low light. The light drop off from stop to stop doubles. For example:

f/1.4 transmits twice as much light as f/2.0, f2.0 twice as much as f/2.8, f/2.8 twice as much as f/4.0, etc.

2. Focal Length

The focal length of a lens is the distance between the optical center of the lens and the image sensor. Determines the angle of view or perspective seen through the lens.

Shorter focal length makes the shot appear deeper. Exaggerates depth and distance.

Longer the focal length makes the shot appear flatter.

Full Sensor Camera such as 5D

Wide Angle Lens 16mm -- Will emphasize the foreground and make it look larger than the background. Makes background objects look farther away. Be careful. Will cause distortion.

Standard Lens 50mm -- Helps to balance the subjects and depth of field. Foreground and background are of relative size. Distortion nor compression are an issue. Things will appear "normal".

Telephoto 200mm -- compresses the background and foreground. Things will flatten out.

Cropped Sensor Camera such as the 60D

All focal lengths must multiplied by 1.6

16mm on a cropped sensor = 25.6

50mm on a cropped sensor = 80

Focal Length Full vs. Cropped Sensor

3. Camera to Subject Distance

Using Depth of Field for Storytelling

http://provideocoalition.com/index.php/freshdv/story/video_tutorial_understanding_depth_of_field/

Online DOF Calculator

Rent Lenses

ISO

2011-09-05T23:14:00.000-05:00

ISO = Gain
ISO is the light sensitivity of the sensor.

Higher the ISO the more "noise" you add to the image.

Keep your ISO as low as possible.

Good ISO's -- use multiples of 160:
160, 320, 640, 1250, 1600 -- don't go above 1600

Avoid at all costs:
125, 250, 500, and 1000. These setting add noise and make footage look grainy.

Keep your ISO consistent. Look at the bottom of your frame at the info -- double/triple check before recording.

Shutter Speed

2011-09-05T23:08:00.000-05:00

Shutter speed huge difference when moving from still to motion photography.
You can not play with shutter as you can with still photography.
If we think of the 3 factors we are used to adjusting with still photography:
Shutter -- Aperture -- ISO
With motion shutter speed is gone.
When setting your shutter you want to use a multiple of the frame rate you are shootin.

Use:
1/50th when shooting 24fps
1/60th for 30fps

Do not go over 1/125th.
Stick with 1/50th.

It is very easy to mistakenly adjust/bump/etc. the shutter speed on the 60D.
Check your info every time before you shoot the shutter speed setting.

White Balance

2011-09-05T23:07:00.000-05:00

The process of capturing the correct colors for the type of available light.

We have to tell the camera what white should look like.

We will begin with presets available in the quick menu - then follow with K for fine tuning.

Picture Style

2011-09-05T23:06:00.000-05:00

Select Neutral.
Neutral provides greater flexibility during post-production during grading/color correction.

Digital Sharpness = Evil
Cameras ship on 3 -- we want to set to 0

Contrast
Set down all the way. This will help to maintain details in the highlights and lowlights

Saturation
We can set this down 2 notches as saturation ships to rich.

Frame Rate

2011-09-05T23:05:00.000-05:00

Most Common Frame Rates:
24, 25, 30, 50, 60

NTSC:
24 fps will give you a film look.

60 fps -- you can only shoot at 720 -- gives you a slo mo look in post-production. We will not be shooting 60 fps in Course 1.

30 for TV

PAL:
25, 50

PAL vs. NTSC
Europe = PAL
USA/North America = NTSC
Difference is due to electricity.

Menus

2011-09-05T22:28:00.001-05:00

Select M From Dial -- Select Menu Button Above Joystick

Expo.comp./AEB -- set to 0
Auto Lighting Optimizer - Disable
Picture Style -- Neutral
White Balance -- K5200
Custom White Balance -- leave alone
WB Shift/BKT -- 0,0/+0
Color Space -- Adobe RGB

C.Fn I: Exposure:
Exposure level increments -- 0:1/3-stop
ISO speed setting increments -- 0:1/3stop
ISO expansion -- Off
Bracketing auto cancel -- On
Bracketing sequence -- 0:0,-,+
Exposure Safety Shift -- Disable
Flash Sync -- Auto

C.Fn II: Image
Long exp. noise reduction -- Off
High ISO speed noise reduct'n -- Disable
Highlight tone priority -- Disable

C.Fn III and IV -- Leave alone

Select Film Camera From Dial -- Select Menu Button Above Joystick

Movie exposure -- Manual -- you may not use Auto
AF mode -- Select Live Mode
AF w/ shutter button during Camera icon -- Disable
AF and metering butt. for Camera icon -- No change
ISO speed setting increments -- 1/3 - Stop
Highlight tone priority -- Disable

Movie rec. size -- 1920X1080 24fps
Sound Recording -- Auto (For Now)
Silent shooting -- Mode 1
Metering timer -- 16sec.
Grid Display -- Your choice -- off/none or rule of thirds may be applied

Exposure comp. -- set to 0
Auto Lighting Optimizer -- Disable
Picture Style -- Neutral
White Balance -- Set to K (you may scroll though settings on info menu)
Custom White Balance -- leave alone

Quality-- L
Beep -- Disable
Release shutter without card -- Disable
Image review -- 2 sec
Peripheral illumin. correct. -- Disable

No Adjustments need to be made to this menu

Highlight alert -- Disable
AF point disp -- Disable
Histogram -- Brightness
Image jump w/ -- 1
Slide show -- leave alone
Rating -- leave alone
Ctrl of Hdmi -- disable

Auto power off -- set to 8 min
Auto Rotate -- on
Format -- you will use this after you have copied your card to your hardrived
File numbering -- continuous
Select folder -- leave alone

LCD brightness -- Leave between 4 and 5
Date/Time -- Make sure this is accurate as it will help managing media easier
Language -- English
Video System -- NTSC
Sensor Cleaning -- Auto Cleaning Enable
Lock -- Disable

Due 9/7

2011-08-31T22:06:00.016-05:00

A. Read the strategies.pdf on the server.
B. Read/Watch the materials below.
C. After reading/watching all materials -- Develop a concept using 1 or a combination of strategies. You may work alone or in a group. You must crew for each other. No solo shooting. You may use talent/actors or yourself.
D. Visualize/Storyboard your master shots and post to your blog with a short synopsis of your concept.
E. Create a detailed shot list for each location. This should include coverage. No single masters.
shot list template example

Why do I need coverage?

By having coverage to edit the greatest flexibility is possible in post-production and the importance of this cannot be underestimated.

Essentially masters and coverage involves shooting a scene from several camera angles with each of these differing sets ups covering most, if not all, of the scene. Masters and coverage dominates in drama production because the dramatic emphasis of a scene can be controlled in editing:

The best of an actors performance can be selected and other material dropped.
The feeling and emotion of a scene can be shifted by choices in editing.
If the pace of a scene is too fast or too slow in relation to the whole drama this can be adjusted.
Poor or confusing elements of the drama can be dropped during post-production as a final form of script editing.

Think About:Blocking
Where, when, and how subjects are placed and move in the composition. How they are placed, when they move, where they move from and where they go is dependent on the story—there should be nothing random, since these movements (the blocking of the performers) need to be motivated, otherwise random movements not grounded in the story will appear weak onscreen. The job of the director is to shape or choreograph the blocking, while the cinematographer needs to capture these movements with the camera.
What a character does defines them. Character do actions. What they're thinking is revealed not through dialogue (at least not through good dialogue), but through their body language and how they say what they say. The subtext is the juice of the scene and makes drama interesting.
Blocking is the visual depiction of the story by actors’ bodies—their body language, gestures, and movement through space—and this blocking must be tied to the shot, whether the camera is locked down or moves.

Checklist for staging (blocking)
1. Who owns the scene—the point of view character? This is the character who, perhaps, has most to lose in the scene or the character impacted by the events in the scene. Once you know who owns the scene, then as the director, determine what the emotional state of this character is at the beginning of the scene and at the end of the scene—where does this change occur? You need to know this in order to effectively block the scene (and determine how you’ll emphasize this moment—through shot size/angle changes and/or camera and/or actor movement).

If there is more than one character, think about:
How much space is there between the characters?The way people use space can be divided into four patterns.

Intimate distances: the intimate distance ranges from skin contact to about eighteen inches away. This is the distance of physical involvement--of love, comfort, and tenderness between individuals.

Personal distances: the personal distance ranges roughly from eighteen inches away to about four feet away. These distances tend to be reserved for friends and acquaintances. Personal distances preserve the privacy between individuals, yet these rages don't necessarily suggest exclusion, as intimate distances often do.

Social distances: the social distance rages from four feet to about twelve feet. These distances are usually reserved for impersonal business and casual social gatherings. It's a friendly range in most cases, yet somewhat more formal than the personal distance.

Public distances: The public distance extends from twelve feet to twenty-five feet or more. This range tends to be formal and rather detached.

2. Set up your camera so that you capture not only the action of this character, but more importantly, the reaction of the character to the events occurring in the scene—especially where the scene change occurs. The character’s actions and reactions will motivate where and what you capture on camera—and will help immensely in editing. The choices for blocking and the use of the camera include these four combinations:
· A performer can stand still and the camera remain locked down.
· A performer can stand still and the camera move.
· A performer can move and the camera locked down.
· A performer can move and the camera can move.
The choice you make should be dependent on the needs of the story—this takes analysis (see the chapter on story for more details).

3. Make a list of the shots you need to tell the story—and for editing, especially as it relates to the scene’s emotional shift. Think about the actions of the characters and what they’re doing from shot to shot. What shots do you need to tell the full story when you edit? Where do the performers’ eyelines take us—this is one good clue to choosing shots to edit—and a good shooter needs to capture these eyelines. What will the shots look like as you edit? Do you have enough shots?

okay this is cheesy -- but -- it does a good job of explaining coverage -- watch it.

NOT CHEESY -- MOVIES TO WATCH -- CLICK BELOW TO ENLARGE

(which corresponds to their physical position on the screen). If you cross the line without cutting away or physically showing the camera move your actors will appear as if they have flip-flopped sides. If you do cross the line remember at minimum to get inserts/cut-ways for your edit.
http://vimeo.com/videoschool/lesson/52/180-degree-rule-explained

http://www.youtube.com/watch?v=HdyyuqmCW14

http://www.mefeedia.com/entry/180-degree-rule/3552650

Extras to Watch:
Wong Kar Wai's 2046 Clip
Kubrick Doc
Kubrick's Barry Lyndon Clip
Sam Mendes American Beauty

Due 8/31

2011-08-24T14:29:00.013-05:00

A. Create/Design/Modify a blog for this class. Forward your blog url to jwiss1@gmail.com

B. WatchMaya Deren
Meshes in the Afternoon
At Land
Kenneth Anger
Puce Moment
Kustom Kar Kommandos
Wong Kar Wai
In the Mood for Love
David Lynch
Mulholland Drive - Llorando Scene

C. InClass Shoot:
Introduce yourself with a self-expressive gesture. Your gesture and how you decide to film it should reveal the "camera's" view to exploit the differences between the camera and the eye.

Scan and post to your blog the storyboards for the above project.
--------------------------------------------------------------------------------------
Things to consider:

Compositional Aspects of Cinematography

You need to remember that it's not just what the camera sees, but also how it sees it.

Film Form Communicates Story Content.

The foremost consideration in composing for film is that the image should be a meaning-producing instrument. The concept of images producing meaning has long been analyzed in painting, graphic design, and photography, but no single discussion could ever be definitive. This is as it should be, for the potential for any artistic expression is unlimited. It is not simply what is in the frame that creates meaning; it is also the way the subject is framed, arranged and lit.

Framing:

Framing as visual metaphor.

What do you include and exclude?

Can you use multiple frames? For example the use of other frames within mise-en-scene (windows,doorways, other lines and borders)
Christopher Doyle Masterclass in Cinematography

Here are some classic terms used to describe the distance to the subject in a given shot or the size of the shot:

ELS- extreme long shot- landscape, satellite photo, planet earth

EST - establishing shot - establishes a scene and its location

MS- medium shot- shows the subject from waist up. Close enough to capture emotions, but still allows for some range of movement.

Bust Shot- chest to top of head- traditional “live- at the scene” interview framing

CU- close up- collar to top of head- personal and emotional

ECU- extreme close up- mouth to eyebrows -- shows just the face, or even just parts of it. Very good at showing emotion. Amplifies an actor's movements.
http://vimeo.com/videoschool/lesson/8/framing-and-composition

Video Tutorial on Framing and Composition

OTS - Over-the-Shoulder - a loose close-up, in which the shoulder/head of the other character is in frame. Used for conversations. Remember your Eye-Line Match -- Continuity editing dictates that, if a character is looking in a certain direction in one shot, she/he should be looking in the same direction in the following shot. This is crucial in the over-the-shoulder pattern, where the characters must seem to be looking at one another.

2S - 2 shot- two people’s heads and/or bodies completely in the frame - in most cases a medium shot showing two characters standing/sitting/walking next to each other.

POV - Point-of-View - Shows what a character sees. Used to make the audience see the scene from the character's viewpoint, making them identify with the character to some extent.

INSERTS - Often showing inanimate objects in CU or ECU. Used to convey information, or to disguise a cut when editing.

REVEAL- tilting, panning, tracking, and revealing an important element or person (every horror and western flick, . . . ever.)

In addition to the distance to the subject in a shot, the angle of the camera should also be considered:
Changing the camera angle changes the appearance and function of your shot.

Eye Level - Most commonly used.

Low Angle - Camera is low, looking up at the subject. Makes the subject look dominant. a.k.a. the mythic or heroic shot- see Citizen Kane

High Angle - Camera is high, looking down and the subject. Makes the subject look submissive/inferior. a.k.a. the God Shot- see Hitchcock

Dutch Angle - Camera is slanted from the horizontal. Disorienting skewing of the camera angle- see Rocky

Horizontal camera angles. Moving the camera around the subject horizontally while aiming at the subject creates different camera angles below:

1.Frontal. The frontal angle tends to flatten the three dimensionality of facial features and environments.
2.Three-quarter front. The three-quarter front angle is more often used than the frontal angle or profile because it shows more depth and volumes.
3.Profile.4.Three-quarter rear.
5.Rear.

Framing Hints:

Rule of thirds -

Divide your frame horizontally and vertically into thirds. To make an interesting and visually pleasing shot, place important objects in the shot on these lines, or where they intersect. For example, eyelines are almost always placed on the upper vertical third line, whereas horizons are often placed on the lower vertical third.

Why does it work?

Balance is a key to and a natural component of composition. Both human perception and movement are dependent on a sense of equilibrium.

Isn’t that boring?

You need to learn the rule to intentionally and effectively break it.

The Importance of head, eye, nose and lead room - p150:

The predominant content elements in the majority of shots in narrative films are most frequently people. When a person is the focus of compositional interest, where is the viewer's eye drawn? Usually to the eyes. When people are composed on film, the eyes are almost always on the top thirds line. If the eyes are lower, you will probably have problems with headroom - the amount of space above the head. Too much headroom tends to diminish the subject. Individual cinematographers handle headroom differently, but they generally keep the top of the head close to the top of the frame. Headroom is more critical in close shots; close-ups with an inordinate amount of headroom definitely diminish the subject. A little more headroom can be allowed in longer shots, although putting the eyes below the top thirds line can produce disagreeable results. Some cinematographers maintain that you can err on the side of too little headroom -- but... cropping in too tight can make a character look constrained.

Eyeroom, or leading space, refers to the practice of giving characters space in the direction they are looking. A character looking frame-right would be composed around the left thirds line and vice versa. If a character is not given eyeroom, the shot will feel confined, as if sight is somehow limited or the character's face is pressed up against something. You want to give a character some breathing room/space from the edge of the frame. For example if you have a character looking toward the right in a shot you would not want them positioned close to the right edge of the frame or it would seems odd and uncomfortable because it would feel like the character is about to leave the frame. The same applies when a character is moving across the frame.

Watch this video tutorial on Head room, Lead room and Anticipatory framing

Natural Transitions

Welcome Back!

2011-08-22T22:09:00.000-05:00

Check out the main departmental blog for helpful links for the start of the new semester.

Fall 2011 Syllabus

2011-08-22T22:04:00.005-05:00

DM 270 Digital Cinema
Mac Lab 3
Wednesday 9-3:35

Jill L. Wissmiller
jwiss1@gmail.com
jwissmiller@mca.edu
DM270 Blog
Digital Media Department Blog
Office Hours:
T, W, TH 3:45-4:45

Course Description
This course focuses on the development of time-based media from both narrative and experimental perspectives. Camera work, lighting, sound, and editing are discussed in lecture and demonstration.

This course will also focus on how to watch and listen to films. Using individual movies as examples, we'll consider how events, characters, and meanings give stories their shape. Just as important, we'll examine how these elements of narrative depend on and interact with the elements of the film's style. We'll see how props, settings, costumes, lighting, acting, cinematography, editing, and sound can say more than the words in the script. And we'll discuss how all these elements reflect the visions and beliefs of different filmmakers and the times and places they came from, as well as our own visions and beliefs.

Course Outline
This course is broken up into evolving topical segments of approximately two weeks each. Readings and film screenings outside of class will accompany these segments. A film centric approach to media construction, basic videography and lighting, sound recording, editing and DVD creation will be introduced.

Copyright
You must receive copyright permission for all non-public domain media used in your film projects. Public domain material can be found at http://www.publicdomain.org/ andhttp://www.creativecommons.org/. Documentaries (but not fiction) may follow the “Documentary Filmmakers’ Statement of Best Practices.”(located on the class server as a pdf)

Assignments and Requirements

In Class Discussion, Critique, and Exercises
You will be expected to do original analyses of your work and that of others – your peers and recognized professionals and to complete in class exercises illustrating the techniques presented. Extra time outside of class will be needed to master the skills and complete the exercises presented in class.

Blog
You will be required to keep a blog for this course. Your blog can be thought of as a sketchbook and should include thumbnails and storyboards for each assignment and be used as a space for idea development exercises and reading /screening responses. Each assignment and assignment write-up must be posted to your blog. Rolling Due Dates.

Assignments
Assignments reinforcing the topics and techniques presented in class will be completed within the first ten weeks of the course. Each assignment is to be accompanied by a separate Assignment Write-up describing your process - the idea, both the conceptual and technical challenges you were dealing with, your approach, your frustrations, what you learned, as well as reference to any of the weekly readings and or screenings. These write-ups should be succinct, no more than 500 words and posted to your blog.

Final Idea and Influences Presentation
You will be given a list of video artists and filmmakers from which to choose...Prepare a short presentation (5-7 minutes) that introduces the artist/filmmaker, his or her background, a survey of his or her work and one or two specific works that you have investigated in detail. Relate this work to your proposed final project idea. Are you responding to the techniques of your featured artist/studio, the content of their work, or a combination of the two? Provide the class with a digital document that includes a bibliography and URLs.

Final project
The steps leading up to the completion of your final project will comprise the last 5 weeks of the course. These steps include the above presentation, pre-production package, a work in progress critique, and final critique.

Visiting Artist Lectures
You are required to attend 50% of these lectures and post a short review to your blog. If you are in more than one of my classes you may cross post your response -- you only need to write one response and post to each of your class blogs. Here is the Fall 2011 Visiting Artist Lectures Schedule.

Learning Accommodations
In compliance with MCA policy and equal access laws, I am available to discuss appropriate academic accommodations that you may require as a student with a disability. Request for academic accommodations need to be made during the first week of the semester, except for unusual circumstances, so arrangements can be made.

Health and Safety Precautions
As more and more work, education and recreation involves computers, everyone needs to be aware of the hazard of Repetitive Strain Injury to the hands and arms resulting from the use of computer keyboards and mice. This can be a serious and very painful condition that is far easier to prevent than to cure once contracted, and can occur even in young physically fit individuals. Paul Marxhausen – visit his site below
http://eeshop.unl.edu/rsi.html

http://www.mydailyyoga.com/yoga/rsi.html
All students are required to follow the standards detailed in the EPA Material Handling Protocols

Evaluation and Grading
Grading will be based on:
Creativity, aesthetic and conceptual development
Technical execution
Participation in critique and class discussions
Assignment write-ups

Attendance

Visiting Artist Lecture write-ups

Assignments are due at 9am on their scheduled dates. If you are to miss a scheduled due date, work must be handed in prior to absence. Points will be deducted for failure to participate in critique. Late assignments will not be accepted. Lost files are not an excuse for a late assignment. Loss of data, files, or other associated items needed for any assignment or project will require that you recreate your work, with no exceptions. You are solely responsible for the security of your files. Your files are not 100% secure on the server or computer desktop. You should have multiple copies on multiple sources at all times. If your files are not saved in 3 locations they are not safe.

Attendance Policy
Punctual, consistent attendance and serious participation in class is required for receiving credit. If there are three absences during the semester, credit will not be granted. If you have two absences, your grade will be lowered by one letter grade. Two later arrivals/early departures = 1 absence.

Readings and Resources
There are no required textbooks for this course. All reading will be made available online or handed out in class. All films to be screened outside of class will be available at the following locations:
Black Lodge Video 831 S. Cooper (901) 272-7744

Materials and Supplies
Required:
Equipment Deposit

1 Spindle (25) DVD-R’s (copymax, compusa, bestbuy, etc.)
1 external hardrive

School Department and Class Policies
Equipment policy and procedures.

Lab policy:
No Food or Drinks in Lab. $50.00 fine if you are found in violation.

Keep the Lab Clean. Dispose of all trash -- Paper scraps, old media etc.

Organize files within the documents folder on your account. Delete your trash from your desktop and trash bin. Back up work to an external source. Remember files are only safe if they exist in 3 separate locations. MCA servers are not to be considered secure and used only for temporary storage.

Email jwiss1@gmail.com with any bugs or systems problems. A screen shot of the error is very helpful also note the location of the machine. If something is not working, you must let me know ASAP as to get it fixed in a timely fashion.

Log Out of your workstation prior to your departure. Upon your departure, the chair should be pushed in. Your monitor, keyboard, drawing pad and mouse should be placed in their proper positions.

Your Lab Privileges will be revoked if you do not use headphones in the lab. Please email jwiss1@gmail.com if you encounter problems during open lab time etc.

SD Encode Settings for the web

2011-08-18T22:15:00.000-05:00

1. Open Compressor
2. Go To: Window | Settings
3. When your Settings Window opens Click the Plus drop down menu in the upper right and select QuickTime Movie

4. Untitled Quicktime Movie will appear in your Custom Folder. Double click the Untitled Setting and it will open in your Inspector Window. Name your setting Vimeo SD Encode. And give it a Description of SD Content.

5. Select the 2nd tab from the left - the Encoder tab, to change your video settings. Click on the settings button. This will bring up our window where changes can be made. We will first change our Compression Type to H.264. Under Data Rate we will change from Automatic to 'Restrict to and type in 2000 kbits. Then adjust our Key frames to every '30' frames and keep your Compressor quality setting set to High and encode using Best Quality (multi-pass). Click on OK.

6. Next select the Audio settings and change Audio Format to AAC, and the

Sample Rate to 44.1. We will keep the Target Bit Rate at 128 and click OK.

7. Select the Frames Control tab (3rd tab from the left). To activate 'Frame Controls', you must first click on the little gear icon which is found to the right of the Frames Control drop down menu. Should you forget to do this, the Frames Control menu will be grayed out. Set the Frame Controls drop down menu to 'On', change our Output Fields to 'Progressive' and then go to the Deinterlace control and change it to 'Better' (Motion Adaptive).

8. Click on the Geometry tab (2nd from the right) and type in the new frame size, 640X480. Leave the Pixel Aspect at its default for size setting. Click Save.

9. Now your Vimeo SD Setting will appear in your Custom Folder in the Settings Window.

10. Click Add File button in the upper left hand corner of the project window and navigate to your Master File. Drag the Vimeo SD Encode setting from your Custom Setting Folder to your file.

11. Click the Destinations Tab and Drag a destination to the word source on your project file.

12. Click Submit in the lower right hand corner -- You can monitor by clicking the upper right hand corner button Batch Monitor.

If it floods...

2011-05-02T17:39:00.001-05:00

aye so much rain! if school is called off -- please place your final
portfolio on the server from home. To do this you connect as you would
at home but enter:

www.mcalabs.net vs. the afp://dali.mcalabs.net at school -- this can
take a minute to load -- be patient -- directions below and I have
attached an image to assist you. Also, update your blog with your
final work and self-critique

Go | Connect to Server | enter www.mcalabs.net in the address bar then
click the + sign to add as a favorite | click connect in the bottom
right corner of the window.

Please email with any problems/concerns -- stay safe!

Also, do not leave anything on the floor in the labs/studios downstairs!

FLOOD INFO:
Shelby County Office of Preparedness
http://www.staysafeshelby.us/

SPIRIT WEEK!!!

2011-04-28T14:17:00.002-05:00

Sunday, 5/1, 2-4pm, Sleeze - ice cream social and cake walk - come out for free ice cream and enter the cake walk to win fabulous home made desserts

Monday, 5/2 - "Traditional" College Student Day - come dressed preppy, or wearing colors of MCA or another college

Tuesday, 5/3 - Zombie Day - wear your most frightening and bloody attire

Wednesday, 5/4 - Talentless Show, Callicott, 7:30-9:30pm (sign-up in the Sleeze this week), followed by the Late Night Breakfast, Sleeze, 9:30-11:30pm

Thursday, 5/5 - Art History Day - dress like your favorite historical artist

Friday, 5/6 - Woodland Day - come dressed as a creature of the woods or object of nature (i.e. a tree)

Saturday, 5/7 - End of Year Party, MCA 2nd floor terrace, 9-midnight - this year's theme is Thrift Store Prom - head to a local thrift store for the snazziest prom outfit

Due 5/4

2011-04-27T12:29:00.006-05:00

LAST DAY OF CLASS -- FINAL CRITIQUE

A. Create and format a Final Portfolio DVD. Your DVD may contain materials for other courses. You do not have to label buttons with course info or project names etc. Your DVD portfolio must be ready to screen by 9a.m. Your portfolio DVD must include:

1. Sense of place project

2. Shot Reverse Shot project

3. Unconventional SRS

4. Midterm Project -- aka project of your own design/choice

5. Final Project

B. Digital Portfolio. Create a folder labeled your lastname_portfolio. This folder should include 6 subfolders -- one for each of the six projects. Inside of each subfolder you should have the .m2v and .ac3 file for each project and the web ready file. You must also include a .rtf file for each project that contains:

Your name

Major

Year in School

Title of the work

Running Time

Short Synopsis

C. Post your final project to your blog with a self-critique.

Amazing Documentary Resource

2011-04-13T20:36:00.003-05:00

-- 163 clips -- 38 documentary makers
http://films.nfb.ca/capturing-reality/

Due 4/20

2011-04-13T17:07:00.003-05:00

--REMEMBER -- NEXT WEEK IS 4/20 -- THE PARK WILL BE BUSY -- PLAN AHEAD IF YOU NEED TO LEAVE CAMPUS @ 3:35 -- CLASS WILL MEET UNTIL 3:35--

All work is due by 9a.m.

A. Complete your Midterm Edit!!!! Final Final Final -- Color Correct -- Titles
AUDIO NEEDS IMPROVEMENT ON MOST PROJECTS!!!
Post your video to your blog with a self critique
Place your DVD build on the server in the midterm_4 folder

B. Review and Comment on all final project concepts. Leave the comments on their blog post. Your comments will be graded. Do not simply post I like it etc. etc. --Details Below:

Intent: What you feel the artist was trying to communicate in terms of themes, ideas and emotions.

Synopsis: Your impression of the story line.Structure: Your impression of the structure of the piece -- is it effective? need further consideration?

Strengths: Specific areas or moments are working well and why.

Suggestions: Aspects of the project that were weak or confusing. Possible ways to make the work richer.

C. Revise your final project concept -- Create a new post complete with revisions also include:

1 sentence description of your project.

Explanation of Theme and Intent.

Structure Breakdown of Plot

Production Design Statement -- Will your aesthetic choices contribute to the understanding of the project’s main idea?

Images of locations -- note sound quality and lighting notes (is power available? controllable?)

Images of Talent/Interviewees

D.Printed Scripts -- Highlighted for individual characters.

Due 4/13

2011-04-06T16:40:00.000-05:00

A. Revise your edit -- Color Correct and Title.
Export and create:
DVD build folder -- place on the server by 9a.m.
Video blog post with a self-critique by 9a.m.

B. Further develop and revise your final project idea. Post to your blog.

C. Prepare work to enter in the student film festival.

Due 4/6

2011-03-30T13:02:00.019-05:00

A. Revise your edit!!!!! -- Revision Suggestions Posted Below.

B. Export and post your video to vimeo or youtube. Once your video is completely uploaded -- embed the video into a blog post along with your assignment write-up and your crit on crits. Uploading to youtube and vimeo can take anywhere from 5 minutes to 1 hr -- you must do this ahead of time -- the post is due by 9am.

C. Create a portfolio dvd including the work you have created up to this point. Your design may include a "dead" link for the final project and any other items you wish to include in the future. DVD Review Posted Below.

D. Post a fully developed concept pitch for your final project. Link to Pitch Details

Having problems coming up with a concept?

All you need is a set-up, complication and resolution.

Your project does not have to be narrative.

People do not have to talk. You don't have to have people.

It is a good idea to have three acts. But the three acts don't necessarily have to happen in chronological order - as Jean-Luc Godard said, "every movie needs to have a beginning, a middle and an end, but not necessarily in that order."

Final Pitch -- Must include:

1. One sentence summary of your project

2. Synopsis -- a brief clear statement of what we will actually see onscreen.

3. Intent -- How do you want to affect us?

4. Aesthetic Choices -- How will your aesthetic choices compliment the content and intent of the piece? Include links out/post examples.

5. Structure Analysis

Edit Revision Suggestions:

2011-03-30T12:02:00.002-05:00

Your audience should not have to wait on you. If the audience is waiting the pace is too slow. There are two main causes of slow pacing – unnecessary scenes, dialog, etc and staying on something too long, taking too long to do something, etc. Just because you shot it doesn’t mean it’s important for the story. Making sure each scene is tight. Somebody famous once said,"Begin a scene as late as possible, end it as early as possible. A video is like a piece of string that you can cut up and tie together - the trick is to tell the entire story using as little string as possible." It’s about good editing. Not fast pacing, but the lack of slow pacing.

Doctors have an oath that first and foremost they must “do no harm”. Film festivals also have an oath – “don’t be boring”. If a reviewer thinks your film will bore the audience, your film will be rejected. I have heard this from numerous film festival operators. Slow pacing is the single largest reason for rejection.

Tips to Follow:
1. Shaping story – It is said that there are three films: the one that’s scripted, the one that’s been filmed and the one that’s edited. When you cut, pay close attention to the story chronology and don’t be afraid to veer from what was written or filmed if it makes sense to do so.

2. Cut tight – The best editing approach is to cut tight scenes without becoming too “cutty”. This means taking out unnecessary pauses between actors’ delivery of dialogue lines. Sometimes it means tightening the gaps within dialogue sentences through the use of carefully placed cutaways. It may also mean losing redundant lines of dialogue.

3. Pull the air out of actors’ performances – Again, cut tight. Recognize that many actors will overact. They will milk a scene for more than is appropriate. They will accentuate pauses, add more stumbles and stammers (where scripted) and give lengthy glances. Sometimes this works, but your job as the editor is to dial these back as you cut. Take these pauses out by cutting away and then back. Cut out redundant actions and line deliveries. Make it real, so it doesn’t feel like ACTING.

4. Cut for the eyes – Actors that do well on TV and in films (as compared with the stage) are all very expressive with their face, but most importantly, their eyes. When you’re cutting an intense dialogue scene, Look at how the actors’ eyes play in the scene. Do they convey the proper emotion? What is the reaction of the other actors in the scene? What the actors are or aren’t doing facially should determine your cutting. It should drive your decision to stick with the principal actor delivering the dialogue or whether to briefly cut away to see reactions from the others.

5. Matching action – Matching actors’ hand positions, use of props, eyeline and stage position from one cut to another fall into the technical category of how to make a proper edit. Walter Murch offers a rule of six criteria that form reasons to make a cut at a given instance. The greatest weight is given to whether that cut drives the emotion of the scene or moves the story along. Technical matching is the least important concern. You should throw it out the window, because a mismatch that is too extreme can be very jarring to the audience. On the other hand, many editors think, “Matching is for sissies.” The audience will often ignore many minor continuity differences from one shot to the next if they stay totally engrossed in the story. Your job as the editor is to cut in such as way that they do.

You should generally cut on action, especially if you are cutting from a wide shot of a subject to a tighter shot of the same subject on the same visual axis. Cutting on action means that you cut from one shot to another just as an action is performed, such as an actor taking his hat off. When you join the shots, you use the first part of the motion in the wide shot and the second part of the motion in the tighter shot (you have to experiment to find out exactly where to cut for the smoothest results – it depends on the shots).

6. To Jump or Not to Jump - If you do not cut on action and the two shots are along the same visual axis, the result is a jump cut. Jump cuts are jarring and disconcerting, and pretty much unacceptable, unless that is the effect you want for narrative reasons. Steven Spielberg sometimes uses jump cuts to punctuate the drama of a scene, and he always uses the technique masterfully. An example is the scene in which Carl Hanratty sees Frank Abagnale’s photo in the school yearbook in “Catch Me If You Can.” Another example is the gas station scene in “Duel.”

Jump cuts can also be used to compress time (Spielberg used this technique in “Schindler’s List,” in the scene in which Schindler is choosing his future secretary while his new office is being painted), but again, it is a very specific look and the director must plan the scene very deliberately to make it work.

There will not be a jump cut if you:

a) cut on action, or

b) cut from one angle to another angle that is rotationally at least 20 degrees away from the first one, or

c) cut to another shot and then back to the first shot, or a shot of something else.

The middle shot in (c) is known as a cutaway. You should shoot plenty of cutaways, especially for interviews and documentaries, where you are not able to direct things precisely and need more insurance shots for post-production. Cutaways can be a shot of the interviewer nodding, or a shot of a glass of water; anything that you can cut to. Cutaways are also known as B-roll shots.

More on jump cuts: bear in mind that they don’t only happen when cutting along a visual axis without action; if you cut from one shot to another shot that is perpendicular to it and in which the subject is framed in exactly the same way, that’s a jump cut – perhaps an even more irritating one than when you cut from a wide shot to a close-up with no action. For example, if you cut from a frontal medium shot to a medium shot that is framed from the actor’s side, that’s a jump cut, even though there is an angular difference of more than 20 degrees between the two shots (see [b] above). Avoid it like the plague unless you are seeking a specific effect and are sure of how the audience will perceive it, which is not always easy to predict.

DVD Menu Review

2011-03-30T09:04:00.001-05:00

mark in and out on your sequence the area you wish to export -- include black at the beginning and end

save your project before compressing

File | Send To | Compressor

Your sequence will appear in Compressor

Drag the settings and destination to your file
Use DVD best quality 90 min

Click Submit in the bottom right corner of the window

Click the Batch Monitor Icon in the upper right of the window to check the time.
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Your Buttons in Photoshop Layers

DVD menu buttons have three states: normal, selected, and activated. The “activated” state is displayed when you actually “click” on a selected button. You need a single Photoshop layer for each button’s “selected” and “activated” states, plus one background layer. You can merge the “normal” button states with the background layer. For example, if your project has five buttons, your Photoshop file should have ten layers for buttons states and one background layer that includes the buttons in their “normal” state.

******Any layer effects (such as drop shadows), adjustment layers, and transfer modes should be “flattened” into basic layers. It’s a good idea to label all your layers clearly and to save a copy of your original Photoshop file before you prepare it for DVD Studio Pro.

Your Buttons in DVD Studio Pro
Once your buttons are set up in DVD Studio Pro, use the Menu Editor tools to preview different button states. Buttons in DVD Studio Pro need to be square or rectangular, but you can use any shape for the underlying Photoshop button graphics. Be sure that the rectangular or square buttons you’ll be drawing over the Photoshop graphics in DVD Studio Pro will not overlap. This will make your menu easier to use.

----------------------------------------------------------------------------
Step 1: Create a new Photoshop document and select the “NTSC DV Widescreen” preset.

Step 2: Launch DVD Studio Pro and a new project will open by default - click extended view if prompted

Step 3: In the Assets tab, click “Import...” Locate your Photoshop file and click Import in the dialog window.

Step 4: Project Menu |“Add Layered Menu” and a new menu will appear. Delete the menu 1 DVD studio Pro created w/ the new project. Select the menu you just created

Step 5:Once you select the menu, the Menu Editor will display its controls. In the General tab, find the Background drop menu and select your Photoshop file. Check the box for your background layer and uncheck the rest.

Step 6: In the menu tab, create DVD Studio Pro button areas around your Photoshop buttons by clicking and dragging. You can move these areas or resize them using the bounding box.

Step 7: Click on a button area to select it and the Menu Editor will display its controls. In the Layers tab, select the appropriate layers for each button in each state.

Step 8: Control-click the background image of your menu and select Simulate Menu to preview your menu in the Simulator.

Step 9: Once you configure each of your buttons, your menu will be ready to be connected to your other assets.

Misconceptions in Lighting

2011-03-09T08:10:00.000-06:00

1) Failing to properly set the Key Light

The “key light” or ‘key” is the main or primary light on a subject. It is the most important light source affecting the exposure of the shot and it establishes the directionality and source motivation for the lighting and the placement of shadows. Where we place our key light affects the shape, form and definition of our subject’s face. In short, it establishes the overall mood of the scene. Because actors move in music videos, commercials and films a number of lights may be used to establish the key light source, but in order to maintain the overall motivation of our lighting we place them in such a way to make it appear as if they are all coming from a single direction.

The most natural key light position is viewed as 45 degrees above and to one side of a subject. This position throws the shadow of the nose across the opposite side of the face leaving a patch of light, commonly known as the “Rembrandt patch”, named after the famous Dutch painter who lived in the 17th Century. For the most part this angle places light in both of the actor’s eyes and gives nice shape to the nose, lips, chin and cheeks. On music videos, where the major concern is making the star look beautiful, the key is usually a very soft light, placed at camera level (or slightly above) in front of the actor, minimizing facial blemishes, lines or marks.

But are these the only two positions for setting your key for your subjects? Should you follow them blindly? What if the subject has a very wide face, or a chin that sags? How about if they have a larger than average nose, deep sunken eyes, or has a hairstyle that would make Bob Marley proud?

Different faces demand different lighting positions. You’ll have to study the face of the individual and test various lighting positions to determine where to set your key so it comes from the direction that will best serve the features of that person’s particular face and/or the mood you are trying to create. “If you can light a face, you can light anything” - Roger Deakins, A.S.C. B.S.C (“Shawshank Redemption”, “House of Sand and Fog”)

The final placement of the key might be from high overhead and high to the side, from three quarters back, behind them, or even from below.

Darius Khondji, A.S.C., A.F.C. (“Se7en,” “City of Lost Children”, Madonna’s “Frozen”) was quoted as saying, “the direction of the light counts more with me that its hardness or softness” This emphasizes how important the placement of the key and the angle of the light becomes in helping us to light the subject’s face, and how much of that face we chose to reveal.

2) Viewing three-point lighting as a rule, instead of a starting point.

In the glamour era of Hollywood, camera men adhered strictly to the rules of three-point lighting: a hard key light place 45 degrees above and to the side of an actor creating the “Rembrandt patch.” Opposite side of the key, and the from the direction of camera the Fill light, softer and diffused to reduce the shadow created by the key, and backlight which came from above and behind the actor shining upon their head and shoulders.

The three-point lighting style is still taught today in film schools and lighting workshops. Like many other aspects of filmmaking, it gives the beginner a starting point, a foundation of knowledge to build upon. But as you light for your videos, commercials and films you should realize that you are in no way chained to this technique. You don’t have to follow it blindly.

You can light a scene with a single lighting source. You can choose to expose a scene so you will need little or no fill light. You may use several different sources as fill, and place them in positions other than opposite the key. You can create separation in scene by use of not only by using color, but also by lighting the planes of the foreground, middle and background to different levels of brightness.

3) “ If you want it to look dark, you have to photograph it in the dark”

The common mistake that people make is thinking that a dark scene needs to be shot at low light levels. “It doesn’t have to look dark to photograph dark” - is a something Bill Dill, A.S.C used to say repeatedly to his students. Some cinematographers like to use very big lighting units and a great deal of light, and still others use small lighting units and a small amount of light. But here’s the thing. The light levels have little to do with it; more importantly its how they chose to EXPOSE the scene’s brightness range so that it would fit the curve of the film they were using that really matters. Understanding this concept will allow a cinematographer to expose a low light scene to look bright and over lit, and to make daylight look like moonlight.

If you’re using a digital camera to shoot, don’t believe the myth that you don’t need to use lights. You’ll need to raise the light levels in the scene so you’ll be able to shoot at 0 db at a wide aperture. What you don’t want to do is boost the gain on the camera, which results in added noise. Use a monitor on set and it’s WYSIWYG.

4) Using Soft light, but not cleaning up the spill

Soft light sources are used on music videos to create broad, even areas of light. They’re the commonly used to light faces. Let’s face it; most of us love soft light. It’s beautiful. And there are so many ways to make light soft. You can bounce it off a wall or piece of bead board, foam core, show card, griffolyn, or by sending the light through various forms of diffusion material like muslin, grid cloth. You can use bulbs of various wattages inside different size China Balls and attach them to dimmers. Commercially available units like Chimera can be placed on Fresnel, Par, and open face lights to give off soft light. You can even build your own homemade soft box. On the film, “Frida", DP Rodrigo Prieto, A.S.C., A.M.C. had his gaffer Benito Aguilar make custom soft boxes they dubbed “Sputniks” to fit over their 2K juniors and open face lights.

The larger the source, and closer the source to the subject, the softer the light becomes. But the softer the light, the harder it is to control, you’ll need large flags to control the light at the source and keep it from spilling all over the place. We don’t want light all over the frame, we want to use it to direct the viewer’s eyes to what we feel is important.

The thing to remember when controlling these soft sources is that all flags and scrims used to control the light must be positioned in FRONT of the diffusion frames and NOT between the lamp and screen. This is because the frame of diffusion or bounce board becomes the source of light for the scene. Soft Egg Crates by Light Tools are very popular tools in controlling soft light. They come in various sizes and can be attach to the front of your existing lights, or rigged on butterfly and overhead frames. It’s amazing the number of ways that a talented grip can rig duvetyn to flag off the spill from lights

5) Being Afraid of “Hard Light”

Hard light from a source such as the noon Sun or a focused Fresnel gives light that is directional and casts a sharp, clearly defined shadow. When hard light is used to illuminate a face, imperfections in the skin can stand out.

This is not to say you should avoid using “hard light” on a face, because if you overexpose the hard light on a face the look can be quite unique and beautiful. Veteran music video and feature film Cinematographer Ericson Core (“The Fast and the Furious” and “Payback”) loves to light with hard light. He used it effectively to light the sets and buildings in the night exteriors of “Daredevil” and to bring out the texture of the character’s leather costume.

Hard light needs to be controlled and requires the use of multiple flags, nets and other light modifiers to control and shape the light falling on the scene. You’ll also need to place your lighting units the proper distance from your subject and use some form of light diffusion like Hampshire Frost to help take the edge off.

The late, great cinematographer Jordan Cronenweth, A.S.C. combined soft frontal lighting with hard backlight to great effect in the film “Blade Runner” which has influenced dozens of cinematographers working in music videos, commercials and features.

6) Too Much Light on Night Exteriors

“…nothing can ruin the atmosphere as easily as too much light”- Sven Nykvist A.S.C.

Unless the story is set at the 50 yard line of a Monday Night Football Game, you won’t want it to light it to look like that. The question to consider is “what does night look like to you? How does it relate to the mood of story? It’s okay to allow let things go drop off by several stop down to complete blackness. For reference watch any night scene in a David Fincher movie.

7) Lighting with Super Saturated Color Gels

Another thing to watch out for is the using heavy saturated color gels on your lights. Red is probably the worst offender. It’s really an exciting color but on film it loses resolution and looks soft. Red is difficult for your meter to read and films are less sensitive to the color, so if it’s the only color you’re using in the scene you’ll need to overexpose it about by 2-3 stops.

On DV, red’s noisy frequency makes it hard to transmit cleanly and the color bleeds and smears when transferred. Try to avoid it.

8) Double Shadows

A double nose shadow on the actor’s face is unflattering and distracting. It comes as a result of the key and fill light being set at the same exact angle, (usually 45 degrees to the side of the actor) and at the same intensity.

It has been said that each time you add another light you create another problem. And yet no matter how many lights you use to light an actor, that actor should still only cast one shadow. The chance of even seeing the cast of a single shadow from an actor can be reduced by using soft light sources, or flagging hard sources and by avoiding staging scenes next to plain white walls.

9) Allowing a practical lamp to cast it’s own shadow

If the only light in the room is supposed to come from the practical lamps then what is casting the shadow of the lamps on the wall? Since a light in the real world shouldn’t cast it’s own shadow, this immediately tells the viewer that the source illuminating the scene is artificial. You’ll need to balance your lights to match the direction of the practical lamps and use flags and nets control the spill.

10) Forgetting that your lighting is affected by other variables

The art of lighting extends far beyond turning on a few lights. You have to understand the effect of set design, location, costume, time of day, placement of the action, filters, the film stock, the lab and the colorist contribute toward making the image.

One of my favorite cinematographers told me, “ I can light a set better with a bucket of black paint.” Now while he admitted to that being a slight exaggeration, his point was very clear. If the walls and backgrounds of your set or location are lighter than the skin tones of your actors then they will always seem darker by comparison.

Try to keep the walls down in value by at least 25% in relation to your actors or you spend too much time trying to take light off the wall. The same thing applies to doors, and dark skin toned actors in white t-shirts standing against walls.

Robert Richardson, A.S.C. (“Kill Bill” “J.F.K” “Snow Falling on Cedars”) observed “For me the [color] timer and the lab are two most important choices for a director of photography”. Only by shooting a variety of tests will you learn about the film negative’s ability to give you the results you want when you light.

11) Being Afraid to Mixing Color Temperatures

Another principle taught in film schools and lighting textbooks is correcting lights of various color temperatures within a scene so they match one source (or adjusting the white balance on your digital camera to the most dominant lighting source). Take a look around at what you see in real life and you realize this is another rule that begs to be broken. Mixing color temperatures when you’re shooting on film will actually give the colorist more to work with in post which can lead to some really stunning images.

12) Murky or Washed out Images

When you under expose all areas of a scene the results are images that are murky and flat from being placed too low on the toe of the negative. This image lack contrast and fails to give the eye comparative areas of highlights and shadows. If you overexpose all areas of a scene placing them too high on the shoulder of the negative, the result are images washed out, without contrast. Without shadow detail the eye is once again denied comparative areas of highlights and shadows.

13) Becoming a slave to your light meter.

When lighting a scene a common practice is to try and meter every thing in the scene. That’s a mistake because your meter can’t answer the most important questions, which is “How do I want this to look?” “How do I want to expose this? Put your meter away, take a look at the scene and then light it the way you think it should look. When you’re finished then read the meter. Learn to trust your eyes.

14) DV Lighting vs. Film Lighting

Good lighting is good lighting, regardless of the medium and that takes time. Granted it’s harder to light DV and make it look good than if you were shooting film. This is due to film's greater exposure latitude and tonal range. The exposure tolerance is DV has a narrower exposure tolerance is unforgiving towards over-exposed highlights or crushed blacks. Of course, this is all the more reason for you to use a matte box, neutral density filters, and to light carefully.

15) Ignoring the rule: Block, Light, Rehearse, (Adjust) Shoot

DV shot films are especially guilty of ignoring this rule. Not following this on set will not only waste time but also it can completely demoralize your crew. If you set your lights before the scene is blocked you may discover that your lights are in the frame line. Or you learn that the blocking requires you to re light the entire scene. Watch as the director blocks the scene with the actors, light the set, watch the rehearsal, make any minor adjustments and then shoot.

Audio Notes

2011-03-09T08:04:00.000-06:00

Presence
The reality of the sound
Must appear to be coming from the picture (sound in a gym v. sound in a living room)
Live v. Dead (gym very live (bouncy)) living room dead (think of materials in a living room)
Echo
Reverberation
Sound that does not bounce is referred to as direct sound – often try to deaden a room

Perspective
Is related to distance
Voice of person in distance should be different than one shown in close-up
Boom further away for a long shot than for a tight shot – easier with boom – more difficult with lavs
Mics hidden in scenery – any potential problems? What if camera follows the person?
Sometimes difficult to do – done later in ADR – record scratch track anyway

Balance
The relative volume of sounds.
Important sounds should be louder than unimportant sounds
Human ear can listen selectively, but mic cannot
Cardioids mics can act a little more like the selective ear than can an omni directional
Generally record everything flat and adjust relative volumes in post

Continuity
Refers to the sameness from shot to shot
Script supervisor generally keeps track of visual elements should also keep track of the aural elements
If water is dripping in during close-ups of a man should also hear if cu’s of a woman who is in the same shot
Should note how far the mic is from the person being recorded
The angle should also be noted
Use the same mic for the same person throughout the production

Due 3/9

2011-03-06T02:57:00.000-06:00

Complete Pre-production Package.

Posted to your blog -- unless otherwise noted

1. Script -- detailed visual outline if no dialogue -- Print your script out and highlight the lines for each character for in class reading. Practice reading the script with actors/friends/etc. and revise on your own prior to presenting to the class.

2. Breakdown the Script --

Theme/Story -- Map the structure and be able to explain how each scene functions -- how each transition works -- how each line works -- how each character works -- if a line/scene/character/location/etc. does not have a function why do we see it?

Logistics -- Determine the following
a. The number and types of actors required
b. How many scenes each actor will be in and the total length of their performances.
c. The requirements, number, and types of locations.
d. The number and types of stunts and special effects.
e. What special costumes and makeup will be required?
f. What props are required?

3. Location Confirmation– At each location take detailed notes to include sound quality, available light, and power. Take photos of location. Post to your blog.

4. Draw an overhead map of the natural and electrical power sources. Post to your blog.

5. Storyboard your Master Shots

You do not have to storyboard coverage but you must include as a separate shot list. Ex. you have a master shot for shot 1 -- note on the sheet the included coverage for shot 1. You should have a clear shot list that includes all shots.

6.Determine the number of days you will shoot

7. Create a production schedule – this should include:
date – days – scene – time – location – actors –

8. Create a contact sheet for all actors/crew/locations

Due 2/23

2011-02-16T07:27:00.001-06:00

A. Edit the sequence you shot for today. Make sure to back up files to an external hard drive.

B. Post a presentation on your blog that outlines a concept for a video project of your choice.

only rule = the finished film may not run over 10 minutes.

Your pitch may be no longer than 5 minutes long.

This is the idea development phase of the project. Shooting for the project will begin the week of March 9th/Midterms. You will have a full technical command of sync sound and lighting by that point.

WHAT IS A PITCH?
Below I will explain a pitch for a traditional narrative film -- However, you do not have to make a narrative! You may work in any form you wish experimental to documentary etc. If you are developing a concept for an alternative form you will still have theme, structure, and maybe even character adapt the info below to fit your concept.

Basically, with a pitch you are trying to "tell" your film.
Pitching is not telling the entire plot of a film. No, no, no, no, no! Don't ever start telling the entire plot! Plot is not important in the pitch. What is really important is the emotional journey of your main character.

For example:
Your plot could be... boy meets girl, boy loses girl, boy gets girl back again, that's a plot (and a totally valid one) but it's not interesting as the pitch because we have seen a thousand films like this. So... tell us not about the plot but about... what is the most interesting thing about this boy? who is this boy? What is the real conflict? How is it set?

To break it down -- place, time, atmosphere, introduction of the main character and the conflict are the most important things for your pitch not plot.

Do not simply state a genre:
If it's a drama, make us feel the drama. If it's a comedy, make us feel like it's funny. But don't state the genre in the pitch. That's just making a claim. You must prove it to us/ make us feel it.

ESSENTIALS TO THE PROCESS:
Have a well developed idea you believe in.

What is your theme and story?

Solidify your idea until you can tell anyone what your film is about. Know your concept inside and out.

How do you start?
Know your characters -- link to character worksheets

Outline your idea
This should follow a structure -- link to structure worksheets

3-Act Structure is a good place to start. Link to notes on 3-Act Structure.

Post visuals to your blog. After all the end product of what you have written is going to be made into a visual medium.

Post all materials you are going to use in your presentation. Try not to read directly from your blog. It is important to make eye contact with the people you are presenting to. Have everything easy to follow and easy to read.

Be engaging. There's nothing worse than someone who is pitching with a lack of energy. That's not to say you should be hyper, but intently focused on telling your story with passion. If it's funny, let that come across (comedy pitches are a bit like doing stand-up.) If it's a drama, intensity is key. If your are not engaging/passionate why would any of invest our time to create your project?

Practice your pitch. Practice, practice, practice!!!
How do you practice?
In front of your friends:
Talk to them about the project. If they have questions, ask them to be cruel to you. Ask them to be really nasty and mean. They don't understand everything? They should ask you. If they didn't like it, they should tell you. You have to improve your performance again and again, so many times that everyone can be basically satisfied. That means also practicing in front of a mirror, as stupid as it may sound, but it's a good possibility to see how you appear in front of other people. Just be very strict to yourself. It is not helpful if someone tells you "that was a great pitch!" It doesn't help you. Pitch to people who will be honest to you. And then, you just pitch to anyone you can! Practice, practice, practice.

Some people write it down and learn it by heart/memorized, but often if you present it this way it doesn't work. It appears very artificial/robotic. You have to work on it until it appears to come out naturally. For example, if you shoot a fiction film, some actors are very good on the first and second takes. Some actors are good, statistically, after take number 13. The same goes for the pitch: some people are natural talkers, they can do it within the first first or second time. Fine - great for them. Some other people need to practice again and again and again, so if you feel uncomfortable talking in front of people, practice!

EXTRAS:
Present yourself well.
Thank your listeners for their time.

Due 2/16

2011-02-09T09:03:00.002-06:00

A. Shoot a sequence of similar design in an unconventional style. Watch one of the films below and research the director prior to developing your concept for your unconventional approach. You may add camera movement in your unconventional approach. Prepare a pre-production package as outlined in the post below for the previous assignment. Have your files prepped and ready for import to FCP.

B. Write a short response to the film you watched from below and post it to your blog. Comment specifically on cinematography and editing.

Unconventional:

Yasujiro Ozu

Tokyo Story

http://www.sensesofcinema.com/2003/great-directors/ozu/

Jean-Luc Godard

Breathless

http://archive.sensesofcinema.com/contents/cteq/01/19/breathless.html

Jane Campion

Sweetie

http://www.sensesofcinema.com/2002/great-directors/campion/

Woody Allen

Manhattan

Hannah and Her Sisters

http://www.sensesofcinema.com/2003/great-directors/allen/

Stanley Kubrick

The Shining

http://www.sensesofcinema.com/2002/great-directors/kubrick/

C. Read and watch the Walter Murch links below.

Walter Murch

2011-02-08T18:50:00.010-06:00

According to Walter Murch, when it comes to film and film editing, there are six main criteria for evaluating a cut or deciding where to cut.

1. Emotion - How will this cut affect the audience emotionally at this particular moment in the film? Is it true to the emotion of the scene?

2. Story - Does the edit move the story forward in a meaningful way?

3. Rhythm - Is the cut at a point that makes rhythmic sense?

4. Eye Trace - How does the cut affect the location and movement of the audience's focus in that particular film? Does it acknowledge the audience's focus of interest, such as location and movement within the frame?

5. Two Dimensional Place of Screen - Is the axis followed properly? Does it respects planarity (the visual grammar of three dimensions condensed by a photographic lens into two - with respect to stage-line, eye-lines etc.)

6. Three Dimensional Space - Is the cut true to established physical and spacial relationships? Does it respect the 3D continuity of the actual space e.g. where people are in relation to one another.

Murch made emotion the most important of all of categories in the list. The first rule - emotion - is the one thing you should try to preserve at all costs. If you find you have to sacrifice any of these six things to make a cut, sacrifice your way up, rule by rule, from the bottom.

Murch Editing Process

http://www.npr.org/templates/story/story.php?storyId=4994411

Murch Uses FCP

http://www.apple.com/finalcutstudio/in-action/

In the Blink of an Eye

http://www.amazon.com/exec/obidos/ASIN/1879505622/filmsounddesign/

Transitions

http://filmsound.org/murch/interview-with-walter-murch.htm

Murch Lecture 1

http://video.google.com/videoplay?docid=-191686279668658526#

*Extra Credit* watch and review one of the films below -- one of the films below may be used for the unconventional film screening -- but will then not count as extra credit.

No Editing -- Single Shot Film

Russian Arc - 2000 Actors. 300 years of Russian History. 33 Rooms at the Hermitage Museum. 3 Live Orchestras. 1 Single Continuous Shot.

PVC-1 - Shot in real time, PVC-1 is based on the true story of a woman who is turned into a human time bomb in a bizarre act of terrorism

180 - Shot Reverse Shot - Continuity Style

2011-02-02T13:17:00.010-06:00

Follow the rules -- Break the rules

Create a sequence that starts or ends with a non verbal conversation between two characters -- You must cover this sequence using the traditional method of shot-reverse-shot style, covering the conversation with a minimum of an establishing two shot and then shot reverse shot of the conversation. Piece can be no longer than 5min. You may include audio at a later point -- aka no sync sound. You may shoot as a group. Groups can be no larger than 3 people. Group or solo you must post a pre-productuion package prior to your shoot. This should include:

Concept, Storyboard and Coverage

Post to your blog your/group's concept in a clear outline format accompanied by storyboards. You do not have to storyboard coverage but you must include as a separate shot list. Ex. you have a master shot for shot 1 -- note on the sheet the included coverage for shot 1. You should have a clear shot list that includes all shots.

Overhead map of Locations

note natural light sources and power availability.

note camera set-ups and note shot # from master list

location release

Props/Makeup

Make a list

Logistics

When -- Call Time

Where -- location map etc.

Actors -- Release Form

******Remember the editing rules we discussed, including the 180-degree rule, eyeline matches, and cuts on movement/action.

Everything in the frame adds to meaning. If not -- take it out -- Film Form = Content

Mise-en-scène refers to everything that appears before the camera and its arrangement—composition, sets, props, actors, costumes, and lighting.

Mise-en-scène also includes the positioning and movement of actors on the set, which is called blocking.******

B. Your next assignment(due 2/16) will be to shoot a sequence of similar design in an unconventional style. Watch one of the films below and research the director prior to developing your concept for your unconventional approach. You may add camera movement in your unconventional approach.

Traditional shot reverse shot:

Hawks

my girl friday

http://www.sensesofcinema.com/2002/great-directors/hawks/

Unconventional:

Yasujiro Ozu

Tokyo Story

http://www.sensesofcinema.com/2003/great-directors/ozu/

Jean-Luc Godard

Breathless

http://archive.sensesofcinema.com/contents/cteq/01/19/breathless.html

Jane Campion

Sweetie

http://www.sensesofcinema.com/2002/great-directors/campion/

Woody Allen

Manhattan

Hannah and Her Sisters

http://www.sensesofcinema.com/2003/great-directors/allen/

Stanley Kubrick

The Shining

http://www.sensesofcinema.com/2002/great-directors/kubrick/

C. Prepare footage with the apple pro res codec 422 for import to FCP using mpeg streamclip. These files will be large. You should to back up to an external hard drive. Do not trash your original files. Archive them.

D. Complete the lighting readings below:

take notes/draw pictures -- there will be a quiz

3-point lighting basics
3-point simulator
Key Light – 2 pages
Fill Light – 2 pages
Back Light – 2 pages
Background Light – 2 pages
Bounce Cards – 2 pages
Outdoor Lighting – 3 pages

Due 2/2

2011-01-26T14:57:00.001-06:00

A. Revise proj 1

B. Complete readings below

C. A to B Project:

Explore Space.
Convey a character moving through one space to another,
ex. from one room to another, or between an interior and exterior

Cover the scene and introduce multiple angles that convey the action
without following the character. Think about how you can cover the
action of a character moving from one space to another without the
camera simply following them. Have footage saved and organized in a folder. You need not edit for 2/2. You should review, label, and organize footage.

Rules:
Under 5 min.
No handheld camera
No visible Zooms
No Sound

Readings for 2/2

2011-01-26T14:55:00.002-06:00

What is white balance? Why is it important?

http://www.dv.com/article/17636

Compositional Aspects of Cinematography

You need to remember that it's not just what the camera sees, but also how it sees it.

Film Form Communicates Story Content.

The foremost consideration in composing for film is that the image should be a meaning-producing instrument. The concept of images producing meaning has long been analyzed in painting, graphic design, and photography, but no single discussion could ever be definitive. This is as it should be, for the potential for any artistic expression is unlimited. It is not simply what is in the frame that creates meaning; it is also the way the subject is framed, arranged and lit.

Framing:

Framing as visual metaphor.

Inclusion and exclusion,separation

use of cinematic frame

use of other frames within mise-en-scene(windows,doorways, other lines and borders)

The primary aspect of composition is the framing of the subject or scene. Here are some classic terms used to describe the distance to the subject in a given shot or the size of the shot:

ELS- extreme long shot- landscape, satellite photo, planet earth

EST - establishing shot - establishes a scene and its location

MS- medium shot- shows the subject from waist up. Close enough to capture emotions, but still allows for some range of movement.

Bust Shot- chest to top of head- traditional “live- at the scene” interview framing

CU- close up- collar to top of head- personal and emotional

ECU- extreme close up- mouth to eyebrows -- shows just the face, or even just parts of it. Very good at showing emotion. Amplifies an actor's movements.

2S - 2 shot- two people’s heads and/or bodies completely in the frame - in most cases a medium shot showing two characters standing/sitting/walking next to each other.

POV - Point-of-View - Shows what a character sees. Used to make the audience see the scene from the character's viewpoint, making them identify with the character to some extent.

INSERTS - Often showing inanimate objects in CU or ECU. Used to convey information, or to disguise a cut when editing.

REVEAL- tilting, panning, tracking, and revealing an important element or person (every horror and western flick, . . . ever.)

In addition to the distance to the subject in a shot, the angle of the

camera should also be considered:

Angles:

Low Angle - Camera is low, looking up at the subject. Makes the subject look dominant. a.k.a. the mythic or heroic shot- see Citizen Kane

High Angle - Camera is high, looking down and the subject. Makes the subject look submissive/inferior. a.k.a. the God Shot- see Hitchcock

Dutch Angle - Camera is slanted from the horizontal. Disorienting skewing of the camera angle- see Rocky

Framing Hints:

Rule of thirds -

Why does it work?

Balance is a key to and a natural component of composition. Both human perception and movement are dependent on a sense of equilibrium.

Isn’t that boring?

You need to learn the rule to intentionally and effectively break it.

Kill Bill with Rule of Thirds

http://www.youtube.com/watch?v=mdOT-b2uJ3g&feature=related

The Importance of headroom and eyeroom:

Exercise

Every year Hollywood gives out an Oscar for the film with the best cinematography - in theory, this is a movie that is at the very apex of its craft, in practice it is often a movie that simply did well at the box office, however, almost no movie with bad composition does well at the box office. Take a critical look at some of the nominees of past Academy Awards for Cinematography and select one to watch. Using some string and tape, try making a "rule of thirds" grid across the front of your television, see how often this rule is followed by the cinematographer.

Pause the movie frequently and ask yourself:

• What compositional elements are being used in this shot? Why is this shot better than something else? Could it be improved? If it's a shot that contains action or movement, does the composition remain pleasing throughout? How was the camera placed and how was it moved?

• Remember to use the letterbox versions of movies when studying composition. If the film has been "reformatted to fit your TV" it means that someone has already monkeyed with the composition.

Small Budget? How composition can help:

Oftentimes composition is the task of making something out of nothing.

You really need a hospital set -- no budget? Your hospital can be made with a stethoscope, lab coat, and a clipboard, if you shoot everything in closeup. Directors compose around daunting setups all the time -- a crowd at a basketball game may only consist of the twenty people you can see on the screen, jam packed into a small section of bleachers. A desolate highway might actually be a twenty-foot stretch of suburban driveway; and that ship being rolled over by a tidal wave might only be two feet long.

180 Degree Rule - When shooting any kind of conversation, you need to draw an imaginary line through the characters' eyelines. Once you've placed the camera on one side of the line, you're not allowed to cross over to the other side of the line without showing the camera physically move to the other side, or by cutting to a new master shot. The reason for this is that it makes the characters look like they are looking at each other, and are on the correct side of the screen

What is your understanding of why it may be bad to cross the line?

As you know when you cross the line items in the frame that were frame left are now in frame right and items that were in the right side of the frame are now in the left side of the frame making it hard to edit without confusing the audience.

http://www.youtube.com/watch?v=HdyyuqmCW14

http://www.mefeedia.com/entry/180-degree-rule/3552650

Camera Movement:

Tilt- moving the camera angle up or down around a horizontal axis

Pan- moving the camera left/right around a vertical axis

Track- moving the camera laterally in relation to the subject

Dolly- physically moving the camera forward and backward in relation to the subject

Zoom - Camera is zoomed in/out (making the subject bigger in the frame without moving the camera). Generally shouldn't be done during a shot -- our eyes don't work like that -- appears a bit cheesy -- very much like pointing "look here right here!! Right now! Can be experimented with by using within a dolly shot, as the movement of the camera can disguise the zooming. For example zoom the camera one-way while moving the camera another -- usually zooming in while dollying out. Used for intense reaction shots -- famously used by Hitchcock in Vertigo and Spielberg in Jaws.

Handheld - Can either be used for static or tracking shots. Can add tension and/or subjectivity to a shot, but can also make the audience nauseous! You will be challenged on all handheld shots. Do not be lazy use a tripod unless you truly need the shot to be subjective.

Classic Continuity Style

http://www.fathom.com/course/10701053/session4.html

Why would you say: Shoot for the edit?

When shooting video, you really need to keep video editing in mind. Basically, you want to give yourself options. As such, you want to be sure that you have more than enough material to work with when editing (as re-shooting footage is often difficult and sometimes impossible). Moreover, you need to always remember that there is a slight delay between the moment you press the record button recording- and the moment when the camera actually is recording.

1) Say “action” well after you actually hit the record button- otherwise you might cut of the beginning of your scene.

2) When doing any pan shots (across a room, etc.):

a) start with the camera still,

b) hit record, count to 3

c) then slowly pan across

d) hold still at the end and count to 3

e) hit the record button off.

You’ve just given yourself 3 shots to work with and insured that you got a complete pan.

3) When filming dialogue consider shooting the scene from, a variety of angles.

5 times from 5 different POVs (e.g., for a conversation between 2 people consider filming:

a 2 shot -- subject A bust shot, and subject B bust shot, an over the shoulder shot of subject A and an over the shoulder shot of subject B.

By shooting in this manner you not only insure more varied and interesting editing scenarios but also a better chance of getting quality audio (you’ll have 5 clips to sample from).

Exercise -- Outline the coverage of a scene with a person and a dog. The person is speaking to the dog:

What does “covering a scene,” mean? As you know it is getting many possible angles and POV’s (Points Of View) to “cover” a scene. You shoot the person speaking, you shoot the dog listening, you shoot the POV of the dog looking at the speaker, you shoot the POV of the speaker looking at the dog, you shoot the wide shot from down the street showing the person speaking to the dog and the dog listening. You are covering the scene. You or your editor may never use all the coverage, but it may be your responsibility to cover the shot so if they want the shot it is there for them.